Giunti Odeon presents the highly anticipated 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.

Theatre meets cinema: worlds that speak to each other, stories that mirror each other. A collaboration between Teatro della Toscana and Giunti Odeon is born. A dialogue between theatre and cinema to broaden narrative horizons and intertwine forms and languages that observe, recount and question the world, focusing on human beings and the societies in which they live.

This affinity has given rise to a shared journey between Teatro della Toscana and Giunti Odeon, inaugurating a series of events designed to intertwine the visions of the stage with those of the big screen and offer the public a broader and more transversal cultural experience, where images and words reflect and expand each other in a game of glances.

The film cycle proposed by Giunti Odeon runs parallel to the Teatro della Toscana's theatre programme with its “Altri Sguardi” season, creating a thematic thread between the films and the stage shows, in a continuous exchange of themes and reflections. Some of these events will be accompanied by short introductions in dialogue with artists and scholars, reflecting the intention to bring together different audiences and generate new shared interpretations.

The first event is scheduled for Monday 10 November at 9 p.m. at Giunti Odeon and marks the debut of the project. Stefano Massini, artistic director of the Teatro della Toscana, currently on stage at the Pergola in Florence with the show produced by the Teatro della Toscana itself, Donald. Storia molto più che leggendaria di un Golden Man (Donald. The much more than legendary story of a Golden Man), will be present for a brief greeting. He will be joined by Gabriele Ametrano, artistic director of Giunti Odeon, and Marco Luceri, head of film programming.

This will be followed by a screening of Paul Thomas Anderson's A Battle After Another, the new masterpiece by the great American director Paul Thomas Anderson, already acclaimed by international critics as “the film of the year” and a favourite for the upcoming Oscars.

The film, inspired by Thomas Pynchon's novel Vineland, stars Bob Ferguson (Leonardo Di Caprio), an eccentric middle-aged father. With long hair and handlebar moustache, he lives like a shadow of his former self, lost and addicted. Sixteen years ago, however, he was the leader of French 75, a handful of American revolutionaries united by libertarian ideals. When an old rival, nationalist Colonel Steven J. Lockjaw, kidnaps his only daughter, he is forced to take up arms again and rally his old comrades-in-arms. Backed by the enterprising Perfidia, he will do anything to be reunited with his child.

Piero Pelù will be a guest at Giunti Odeon to introduce the beautiful documentary film dedicated to him: already previewed at the last Venice Film Festival, Piero Pelù - Rumore dentro is an intimate account (directed by Francesco Fei) of a crucial chapter in the life of the Italian rock icon.

In October 2022, during a recording session, a sudden acoustic shock - caused by a technical error in changing headphones - caused Piero Pelù to faint, resulting in permanent damage to his auditory nerve, with which Piero has been struggling psychologically ever since. The accident led to the cancellation of a planned tour and the risk of having to suspend all artistic activities related to Pelù's live music. Piero's “inner noise” thus became a forced opportunity to stop, find himself, rebuild himself, regenerate himself and write a new album dedicated to inner deserts through a full immersion in his inner world: family, freedom, friends (including Litfiba), travel and, of course, music are the elements around which one of the most important figures on the Italian rock scene rebuilds and rediscovers his path.

The film is also enriched by a surprising selection from the boundless film and video archive produced by Piero from the dawn of his musical journey to the present day. Marked by Pelù's spiritual journey to the annual pilgrimage of the gypsies to Saintes-Maries-de-la-Mer, in Camargue, in honour of Saint Sarah the Black, protector of travellers – whose name is tattooed on both of the artist's forearms – 'Piero Pelù. Rumore dentro' becomes a road movie and, at the same time, a reflection on over forty years lived “off road” as an intellectually free, libertarian and courageous figure on the Italian artistic and musical scene. Marked by severe depression after the accident, Pelù finds the path to rebirth in his lifelong muse: music. Piero the rock singer-songwriter, performer, artist, father, grandfather and traveller manages to bring all these realities together with an almost unsettling harmony. The film also features Pelù's friends and collaborators, such as his family, the historic Litfiba, and his everyday friends in unexpected guises.

Giunti Odeon presents the second event in the series organised in collaboration with the Teatro della Pergola: to coincide with  Before the Storm, written and starring Umberto Orsini, one of Billy Wilder's greatest masterpieces and one of the greatest films in the history of cinema, Sunset Boulevard, comes to the big screen. Joe Gillis (William Holden), a Hollywood screenwriter, is going through a difficult period in his career. To escape the debt collectors (he is not paying his car instalments), he ends up in an old house that seems abandoned, but is not. It is inhabited by Norma Desmond (Gloria Swanson), a former silent film star. Joe agrees to review a terrible script that the diva is writing, dreaming of a sensational return to the set. The atmosphere in the house is gloomy, dark, almost deadly. The diva constantly screens her old films, and the guests are surviving mummies (Buster Keaton is among the regulars). A prominent figure is the butler von Mayerling (Eric von Stroheim) who, it turns out, was also Norma's first husband. The woman ends up falling in love with the young man, who in turn is in love with a colleague of his (Olson). Gillis accepts his situation as a kept man for a while, then gives in. But Norma, now mad, shoots him as he is leaving. The man falls into the swimming pool, a symbol of the things he had so desired.

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 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.