Italy Movie Tour 
On Wednesday, May 17th, the doors of the Troisi Cinema will be reopened in Rome
After four years of closure on Wednesday 17, they reopen the doors of the Troisi Cinema in Rome.
The Troisi Cinema was open for the first time in 1936 as the Gil Trastevere Theater. Immediately after the war was run by the Parish. Known since the 1950s as Induno Cinema, by the name of the street in which it was located, in 1997 was renamed Troisi Cinema in honor of the famous Neapolitan actor. The cinema had ceased programming at the end of February 2013: a traditional cinema close to the Trastevere area which, unfortunately, like many others in Rome, had been closed.
In April 2016, after three years of abandonment, finally good news. The structure, owned by the Mediaport circuit of Ferrero, which had been cleared and then acquired by the municipality, is entrusted to the management, through a public announcement, to the young people of the Piccolo Cinema America Association led by President Valerio Carocci.
Since then the commitment has begun to return it to the city. The first 120,000 euros were collected, still insufficient for the work needed to reopen, but a step forward to give credibility to the project.
For this Wednesday it will not be the real opening to programming. But an Open Day, a public assembly to illustrate the structure renovation project, to understand how to make it feasible and above all to think together about how a cinema can live today.
Knowing that there is a need to invent a new role for these structures. In order to be able to sustain the activity, there is an increasing need for them to become cultural leaders able to aggregate, to become actual references to the territory.
Just to discuss this at the Open Day, Cinema Beltrade in Milan, the PostModernissimo in Perugia, Florence's Stensen Cinema in Florence and CINEMAZERO in Pordenone will be present at the public gathering.
The reopening of the Troisi Cinema is part of a more general initiative on which the Piccolo Cinema America Association has been engaged for years: mapping abandoned spaces to save them and return them to citizenship as new multi-cultural sites.
In this context, the battle for the defense and recovery of the historic Cinema America has been carried on for years, defending its historical and architectural character. To achieve this goal, the youth of the association also resorted to occupation of the local. They have been cleared, but despite the fact that they are still at the center of a long, tortuous court case, they have now been able to subtract the old cinema from demolition and speculation.
Meanwhile, the Piccolo Cinema America Association continues its activity as a spontaneous social reality, returning places to culture through events such as the Pirate Screens and the Trastevere Festival.
