Children... let's read together at GO!

Every Sunday, from 11:00 to 12:00, our readers will take you through the pages of wonderful books, right under the stage at GO! Soft pillows and plenty of stories await you to end the week beautifully!

Each child who participates will receive a card where they can collect a sticker for each reading. Collect all 5 stickers on the card, and you'll receive a complimentary book (chosen from a selection of curated collections).

Free admission and no reservation required. Readings will be carried out only when the necessary attendance is reached.

At Giunti Odeon the traditional Sunday appointment with the great Disney and Pixar classics! To see and see again the great animated films that over many years have enchanted generations of viewers, young and old!

A documentary series venturing inside the cinema of one of the most beloved directors of all time: Woody Allen. An exciting journey into the films, background and creative process of an authentic icon of world cinema and culture.

François Truffaut and Jean-Luc Godard: two great masters of film history, undisputed protagonists of an unrepeatable season as the French Nouvelle vague. First friends, then rivals, very different from each other, but both bound by a visceral love for cinema: at Giunti Odeon a series of documentary films recounting their contrasting relationship. 

Three films released in recent years that have entered the collective imagination of our time. Winners of numerous Oscars, directed by great directors and starring famous actors, these three films are now to be regarded as true new cinema classics.

Giunti Odeon celebrates female cinema, proposing three cult films, one from the past and two from the present, with women as the absolute protagonists. Tenacious and passionate, torn between difficult choices and passionate loves, those told in these two films are the women who stop at nothing and who are not afraid to face the pitfalls of life, without giving up their own identity.

Wes Anderson is one of the masters of contemporary cinema, beloved by audiences all over the world for his unmistakable style and poetics. Giunti Odeon dedicates a tribute to the great American director with a selection of his most famous films, all in original version with Italian subtitles.

At Giunti Odeon the traditional Sunday appointment with all the great Disney and Pixar classics! To see and see again the great animated films that over many years have enchanted generations of viewers, young and old!

Ready to take a journey with us into the minds of America’s most ruthless predators — and of those who tried to stop them?
Stefano Nazzi will join us to talk about his book Predatori (Mondadori) in conversation with Edoardo Orlandi!

The Book:

There were years in America when evil seemed to lurk everywhere: in dark parking lots, on the sides of roads, in the most unsuspecting homes. The FBI called it “the epidemic”—the golden age of serial killers—when, between the 1960s and the 1990s, there were nearly two thousand of them. They killed silently, methodically, with imagination, and often with a reassuring face. “We are your children, we are your husbands, we are everywhere,” said Ted Bundy, one of the most infamous. And he was right.

With his vivid, relentless prose, Stefano Nazzi retraces those dark decades, taking us into the minds of some of America’s most terrifying serial killers:

• John Wayne Gacy, who dressed as a clown at children’s parties and buried teenagers under his house.

• Edmund Kemper, the “gentle giant” who discussed Shakespeare with the police and then returned to dismember bodies.

• David Berkowitz, the Son of Sam, who claimed to kill on the orders of a demon-possessed Labrador.

• Dennis Rader, a family man and security technician who signed his crimes BTK—“Bind, Torture, Kill.”

• Aileen Wuornos, who said she killed to defend herself but did it six times, in cold blood.

• And Ted Bundy himself: educated, brilliant, magnetic, “a typical American boy who killed typical American girls.”

Alongside their stories are those of the men and women who hunted, studied, and catalogued them. In the basements of Quantico, two FBI agents—Robert Ressler and John Douglas—began analyzing the profiles of serial murderers and then speaking with them. Together with psychologist Ann Burgess, they visited maximum-security prisons and interviewed thirty-six killers. From those conversations came the science of profiling: the idea that behind the apparent chaos there was a method, and that even the unpredictable could be anticipated. Ressler coined the term “serial killer,”and Douglas outlined the first typologies. They searched for patterns, models, and recurrences. They were the first mindhunters, the hunters of the mind.

This book tells the story of that era.

The Author:

Stefano Nazzi is an Italian journalist, podcaster, and author. He runs the blog Kronaka.it, where he tells contemporary stories, often of true crime. The same theme dominates his successful podcast Indagini for Il Post. In 2011, Laterza published Kronaka. Viaggio nel cuore oscuro del Nord. Mondadori later released Il volto del male (2023), Canti di guerra (2024), and Predatori. I serial killer che hanno segnato l’America (2025).

Hellen Ligios is back from GO to present her latest release, Ci volevamo noi – Claimed (Magazzini Salani), together with our bookseller Sabrina Patanè!

The Book:
JACKSON HAS LEARNED TO LET HIS GUARD DOWN.
LIZ HAS LEARNED TO FIGHT.
ONLY LOVE CAN DECIDE WHETHER THIS IS A NEW BEGINNING—OR TRULY THE END.

Jackson never believed he deserved a future, but when he finally admitted to himself that Liz had always been his light in the darkness, something inside him changed. Now that the past comes knocking harder than ever, and the present is tainted by threats and betrayals, Jax is ready to risk his life to protect her.

Liz, however, is no longer the girl who needs saving. She still carries the wounds Jax left behind, but day by day she is finding the strength to move forward. Trusting him again is a dangerous gamble—especially when love becomes entangled with secrets, dangers, and enemies bent on revenge.

In a game where everything can shatter, one thing is certain: happy endings are never simple. They must be fought for. Even at the cost of losing everything.

The Author:
Hellen Ligios is an Italian author writing under a pseudonym. Born and raised in Rome, she studied Oriental Languages with a specialization in Japanese and lived in Tokyo for two years. A passionate reader since childhood, she loves creating worlds to escape into. She made her debut on Wattpad, where her stories quickly gained a devoted following. With Magazzini Salani she has already published Ci volevamo noi. Chained and Ci volevamo noi. Cursed.

Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 1: A visual revelation

Pasolini's first contact with the world of cinema came in the mid-1950s, when the writer and poet began working as a screenwriter. From there, it was a short step to directing, partly because Pasolini wanted to redefine his role as an intellectual and engage with a language, that of cinema, which was still unknown to him. The making of his first film, Accattone (1961), drawing on the neorealist tradition, allowed him to show the world of the Roman underclass in its twilight years. His visual and cultural sources are already evident in the film: Dante, Giotto, Masaccio, Bach.

Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 2: The “written language of reality”
After his debut film, Pasolini began to reflect on cinema from a theoretical point of view, defining cinematic language as “the written language of reality” and reasoning allegorically about some of its forms, such as editing, sequence shots, indirect free subjectivity and image-time. These ideas are clearly visible in the two films Mamma Roma (1962) and La ricotta (1963), combined with his ongoing poetic exploration of the underprivileged.

Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 3: The City of God

The Gospel According to Matthew (1964) represents Pasolini's first film-world, summarising his poetics and style in the first half of the 1960s, as well as the aesthetic and moral form of his idea of cinema. A film in the form of a sacred magmatic representation, where Marxism, Christianity and humanism give shape to a Gospel devoid of rhetoric, with an anarchic Christ above reason, in a South where the signs of the sacredness of life can still be glimpsed.

Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 4: Utopias and disillusions

For Pasolini, the second half of the 1960s represented the decline of utopia in a country that the director saw as increasingly doomed to self-destruction. These were years of progressive and melancholic disillusionment: with Uccellacci e uccellini (The Hawks and the Sparrows, 1965), La Terra vista dalla Luna (The Earth Seen from the Moon, 1966) and Che cosa sono le nuvole? (1967), Pasolini explored the form of satirical allegory, while Teorema (1968) was the film that marked Pasolini's conscious intellectual isolation and definitive condemnation of the Italian bourgeoisie.

Exactly fifty years after Pier Paolo Pasolini's tragic death, five meetings dedicated to the great director will allow participants to venture into one of the most original and exciting authorial journeys in the entire history of cinema. Pasolini explored the possibilities of cinematic language from a very personal point of view, defining it as “the written language of reality”, capable of showing the changes and contradictions of Italian society at the turn of the 1960s and 1970s. This research brings together some of Pasolini's great cultural influences, including Marxism, religion, myth, the body and painting, which were never separate from one another.

Meeting 5: In search of the lost myth

In the last part of his career, Pasolini confronted one of the strongest cultural roots of his artistic and intellectual journey: Greek myth. First in Oedipus Rex (1969) and then in Medea (1970), Pasolini showed a strength and richness still available to man today, myth being the dark and vital core of lived experience. This theme continued in the three films of the “trilogy of life”, only to be interrupted in his last film, Salò or the 120 Days of Sodom (1975).