Giunti Odeon presents an extraordinary film dedicated to one of the greatest icons in rock history: Bruce Springsteen, “The Boss.” 1981: Springsteen is fresh off the success of the River Tour, which made him famous far beyond his native New Jersey, and his record label wants a new LP right away to “strike while the iron is hot.” But he is in the midst of a crisis, partly due to guilt over leaving his roots behind and leaving behind that working-class world of diners, pinball machines, and suburban houses, and partly due to his conflictual relationship with a father who drank heavily and was violent.

Everywhere he goes, he is followed by a dark shadow and an emptiness that he cannot shake off until, in a room in his modest apartment, he composes the songs that will be part of his least known and most respected LP - Nebraska - far removed from what the record company expects. Bruce wants them to be mastered exactly as he recorded them on an audio cassette (without a case), and he doesn't want to do any tours, singles, or interviews: not even put his face on the cover.

Ad assisterlo è il manager e produttore discografico Jon Landau che, pur comprendendo le esigenze della casa cinematografica, crede nell'onestà artistica di Springsteen. E Bruce, a 32 anni, rimane ferocemente attaccato alla sua verità e cerca la sua strada, anche se su di lui grava quella forma depressiva che lo accompagnerà per tutta la vita, e che affonda le radici nella sua infanzia tormentata.

Giunti Odeon presents Luc Besson's new film, already a cult classic, dedicated to the myth of Dracula. Based on Bram Stoker's famous novel, the film is set in 15th-century Transylvania. After the sudden loss of his wife, Prince Vladimir renounces God, thus inheriting an eternal curse: to become a vampire. Condemned to wander through the centuries, he defies fate and death itself, driven by a single hope: to find his lost love.

Giunti Odeon presents the new film by visionary director Yorgos Lanthimos, starring Emma Stone: the two collaborate for the fourth time after the extraordinarily successful films The Favourite, Poor Things, and Kinds of Kindness. Presented in competition at the last Venice Film Festival, Bugonia stars Teddy, who works as a bagger in the branch of a large shipping company and lives in a messy house on the outskirts of a big city, where he takes care of bees and his cousin Donald, who has been left alone. But the bees are disappearing, and Teddy is convinced that the same fate is about to befall the human race. What's more, he is convinced that aliens are already among us, and to prove it, he stages the kidnapping of Michelle Fuller, the powerful CEO of a multinational pharmaceutical company.

Giunti Odeon pays tribute to Pier Paolo Pasolini on the 50th anniversary of his death with one of his most famous films. The screening of Teorema is the final event of the workshop dedicated to the great director and the third event in the series organised in collaboration with the Teatro della Toscana, coinciding with the performance Ma a che serve la luce? by Virgilio Sieni (at Teatro della Pergola, 26 and 27 november).

“If a middle-class family received a visit from a young god, whether Dionysus or Jehovah, what would happen?”. This is Pasolini's hypothesis, on which he bases and proceeds to demonstrate by reductio ad absurdum his theorem: “the inability of modern man to perceive, listen to, absorb and live the sacred word”. In 1968, Pasolini created a work in the form of both a novel and a film (originally intended to be a theatrical tragedy). For the first time, the setting is within an upper-middle-class family (in Milan). 

The author imagines that a young and beautiful boy, a mysterious visitor, a god, enters the house and, having carnal relations with all the members of the family, strips them of their false bourgeois respectability and their fragile identity, and then abandons them. After his disappearance, they all fall into a deep crisis and only the maid, of peasant origin (played by the prodigious Laura Betti, Pasolini's friend and companion since the late 1950s), undergoes a beneficial metamorphosis, becoming a sort of “holy madwoman”. The utopia of a definitive crisis of the bourgeoisie is staged by the poet-director with cold colours that correspond to the detachment of the direction, which contemplates the actions as reports of a geometric demonstration. A devastating angel, the Guest is the bearer of an eros that takes on a sacred and purifying function that upsets every coordinate of the bourgeois aquarium and ends with a desolate image of the desert where the father of the family wanders desperately, alone and naked, condemned to scream endlessly.

Giunti Odeon presents one of Charlie Chaplin's greatest masterpieces and one of the greatest films in the history of cinema, marking the 100th anniversary of its release in cinemas around the world (including the Odeon cinema in Florence!): The Gold Rush, which will be screened in a stunning new 4K restored version (with original English captions and Italian subtitles).

The Tramp, now a lonely prospector, ventures into Alaska during the gold rush. Nature is hostile, humanity is greedy, and the smile of love seems denied. 'A hilarious film, and one of relentless harshness' (Peter von Bagh). But in a hut made of nailed-together planks and draughts of ice (ninety years later, Tarantino would reference it in The Hateful Eight), the little prospector cooks a shoe and eats it with gusto; he spears two sandwiches with forks and creates, through pure magic, the most prodigious dance scene in the history of cinema; he seeks and perhaps finally finds balance on the edge of the abyss: because Charlie Chaplin ‘will always continue to believe in the potential of the human race’ (Goffredo Fofi). 

A masterpiece of absolute comedy and a great tale of loneliness, The Gold Rush is “the” film for which Chaplin would have liked to be remembered. In reality, he shares that fate with many others. But certainly the choice to take the Tramp to the roots (or to the precipice) of American mythology, to set his solitary figure against the snowy backdrop of the birth of a nation, makes it a work of unsurpassed, dizzying intensity.

The film is presented in an edition accompanied by the extraordinary musical score that Chaplin created, in collaboration with Max Terr, for the 1942 re-release. For the first time, The Gold Rush is thus restored to the highest standard of its visual and musical beauty.

Giunti Odeon presents a film that tells the Italian story of the Theosophical Society, which since 1902 has been promoting ethical values that are increasingly necessary in today's world, torn apart by conflicts of all kinds. The documentary narrates the genesis of the Italian theosophical movement and the influence it has had on the thinking and work of figures of great intellectual stature from the worlds of literature, science, psychoanalysis, politics, the arts and education.