People often speak of a “brain drain” in dramatic tones, as though emigration were nothing but a loss, often experienced as a deep, lacerating wound. That is not the case. Traveling, discovering the world, is probably the greatest driver of both personal and professional growth. The reasons that lead people to leave their home country are many: from a simple desire to explore something new to the search for fresh professional opportunities. It is right; it is part of life.

The most beautiful moment is when, after a period abroad rich in experience, one returns home. Perhaps after a period of education or the first professional experiences, or, as happens in many cases, upon retirement.

One’s true home is always where one was born. This holds even more true for us Italians. Italy is an extraordinary country, loved throughout the world for its unique qualities. It is a mosaic of diverse cultures across every region, from North to South. It is the thread that binds Italians around the world: professionals, artists, creatives, entrepreneurs who, far from their homeland, continue to embody its spirit and reinvent it every day.

It is that invisible thread that runs from Rome to Tokyo, from Naples to Los Angeles. It is a deep fabric, woven from talent, vision, culture, and adaptability.

Italians abroad are not simply what Italy has temporarily lost; they are also what Italy has become elsewhere, ambassadors of an identity that does not end at geographical borders, but instead evolves through contact with other cultures. In the great global capitals, Italians hold key positions across a wide range of sectors: from finance to technology, from scientific research to design, from cuisine to contemporary art.

What stands out is their distinctiveness, the Made in Italy approach, in the broadest sense of doing things the Italian way, combining rigor and imagination, discipline and intuition, tradition and innovation. It is a stylistic hallmark that the world continues to seek, appreciate, and often imitate.

I want to emphasize this point, because we are imitated all over the world, starting with fashion, a synonym for elegance and timeless style. The success of Made in Italy is the result of a layered culture, rooted in history yet capable of adapting to the present.

Fashion, design, food and wine, automotive, high-end craftsmanship: each sector tells a story of excellence born from attention to detail, aesthetic sensibility, and a distinctive relationship with tradition. Precisely in an age dominated by speed and standardization, Italy is still able to offer the value of quality and uniqueness.

This, Italians abroad carry with them a cultural heritage that goes beyond technical skills: the ability to interpret complexity, to build relationships, and to find innovative solutions even in challenging contexts. It is a mindset shaped by a history deeply rooted in tradition.

There is also a less visible but equally decisive aspect: the network. Italians around the world, despite their dispersion, tend to recognize one another, collaborate, and build communities. This is not about insular identity, but rather a form of professional and cultural solidarity that often becomes a key to success.

The world looks to Italy with a mix of fascination and respect, not only for its past, but for its ability to continue creating value in the present. Italians abroad are proof that this heritage is highly dynamic.

The real challenge, rather, is to transform this global presence into a strategic resource for our country as well. It is necessary to encourage the return of skills and to promote policies that recognize and enhance this widespread wealth.

And to those who leave our country with that sense of distance, with the desire to assimilate into the place where they arrive, a famous quote by Indro Montanelli comes to mind: “There is almost nothing I like about Italy. But what little I am, I feel I am as an Italian; and if I were no longer Italian, I would be nothing at all.”

Yet this is a sentiment we sometimes express while living in Italy. Abroad, the perspective changes, because Italy is always, unmistakably, the great Italy.

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There was a time in America when being Italian was something you learned to downplay. Not because it wasn’t true, because it wasn’t easy. You changed your name, you softened your accent, you avoided the questions that always sounded the same. You worked twice as hard to prove you belonged, and even then belonging was never fully given, it was negotiated, day after day.

And still, they built. They built businesses, neighborhoods, families, institutions. They built a reputation before they ever had a voice.

Today we live in a different moment, but that difference didn’t come for free. “Made in Italy” is now a mark of quality, taste and identity. In the United States it opens doors, it carries weight, it signals something precise, not just where something comes from, but how it’s made, and why.

And yet there’s a paradox.

In Italy, saying something is “all’italiana” can still sound like an excuse, a compromise, sometimes even a flaw. In America, the same idea, reframed and recognized, becomes value. That gap is not about perception, it’s about narrative. Who tells the story, and how.

Good Morning Italy is born in that space. This magazine is for people who already love Italy, and for those who are curious enough to understand it beyond the postcard.

It’s for the Italian American community that carries history on its shoulders. Families who arrived with nothing and built something that outlasted them, who turned sacrifice into identity, and identity into contribution. And it’s for a new generation of Italians, arriving today with a different starting point, but the same responsibility. To represent not just themselves, but a legacy they didn’t create, and a perception they didn’t fully earn, but are now asked to protect.

This is not about nostalgia, it’s about continuity. Because the real story is not old immigration versus new immigration, it’s the bridge between them. A bridge made of respect. Respect for those who came before, who faced a version of America that was harder, less open, and often less fair. And respect for those who arrive now, with more opportunities, but also higher expectations.

If “Made in Italy” means something today, it’s because someone carried that meaning across an ocean, long before it became a brand.

This magazine exists to honor that. To tell stories that don’t reduce Italy to food, fashion, or scenery, but expand it into people, ideas, and choices.

To give context where there is simplification.
To give depth where there is stereotype.
To give voice where there is often only image.

Because reputation is not a slogan, it’s a long conversation.

And this is just the beginning.

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Mangini Group announces the opening of its new showroom in Manhattan, marking a strategic step in consolidating the presence in the United States through NICOS U.S.A., a platform that integrates Italian production know-how with the needs of the American market.

The inaugural event was attended by institutional representatives and leaders of the entrepreneurial world, including the Vice Permanent Representative of Italy at the United Nations in New York Gianluca Greco, the Consul General Aggiunta d’Italia in New York Laura Pirino and On. Erica Mazze Developmenttti, Deputy of the Republic and President of the Parliamentary Intergroup Project Italia (public, building and urban planning work), together with the corporate leadership, represented by President Massimo Manfaginitta.

The opening of the showroom is much more than a new commercial presence: it is the expression of a long-term industrial strategy, oriented to make Mangini a structured player in the US market, not simply a product exporter.

Founded in Putignano, Mangini Group has developed over 70 years an industrial model based on advanced modular systems, combining steel, aluminum, glass and wood in high-performance integrated solutions. This approach combines efficiency, scalability and quality of design, more and more central elements in global complex projects.

The New York showroom makes this evolution tangible, hosting concrete applications ranging from clean rooms to pharmaceutical sectors and hospital batteries designed according to comfort and perception criteria, to a real-scale operating room. An ecosystem that shows how the value does not reside in the individual product, but in the ability to offer integrated systems.

Particularly strategic is the contribution of Mangini in the healthcare sector. In a context marked by population aging and increasing pressure on health systems, the modular approach allows to develop more flexible, efficient and person-oriented infrastructure. The design of human-centered environments thus becomes a key element in improving the quality of care and patient experience, both in the United States and in Europe.

As stated by President Massimo Mangini, “the goal was clear from the beginning: building an industrial presence in the United States, able to dialogue with the local market and respond to its needs while maintaining the distinctive values of the Italian model”.

During the inauguration, On. Erica Mazzetti underlined how the Italian model stands out for three fundamental elements: safety in the yards, attention to the accessibility of spaces and a more structured vision of environmental sustainability. Principles that do not only concern regulatory regulation, but represent an advanced vision of building, in which the quality of spaces affects directly the well-being of people.

The opening of the new showroom is part of a broader framework for strengthening industrial relations between Italy and the United States, confirming the role of the Italian industry in defining new standards for future infrastructure.

In this perspective, the Mangini showroom in New York is not only an exhibition space, but as a platform for dialogue between industry, design and institutions, with the aim of promoting innovative and sustainable models in strategic sectors, starting from health.

With this initiative, Mangini Group strengthens its commitment to contributing to the development of more efficient, sustainable and person-centered environments, consolidating the industrial bridge between Italy and the United States.

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The TV series A Taste for Murder has been released as a six-episode production and is distributed in the United States—and beyond—by the BritBox platform, which continues to attract a growing audience. One of its most notable features is the presence of several prominent Italian actors in the cast.

The lead role is played by Cristiana Dell’Anna, one of the most versatile and widely appreciated performers in Italian cinema and television. Alongside her are Marouane Zotti, Urbano Barberini, Gaia Scodellaro, Alessandro Fella, and Alessandro Bedetti, all of whom stand out for both talent and on-screen presence.

Set between Naples and Capri, the series follows British police officer Joe Mottram (Warren Brown), who travels to Italy to spend the summer with his daughter and reconnect with his late wife’s family, who run a restaurant on the island. What is meant to be a restorative break soon takes a darker turn: a series of murders shatters the summer calm, and Mottram becomes involved in the investigation alongside the sharp Neapolitan detective Lara Sarrancino, played by Dell’Anna.

A Taste for Murder blends classic British murder mystery elements with a more personal, emotional storyline—Mottram is still processing his wife’s death—while also incorporating aspects of Italian culinary culture. The result is a fluid and immersive narrative that keeps viewers engaged episode after episode.

Designed for an international audience—and especially appealing to Italians abroad—the series is easy to watch and leaves the impression of something fresh and distinctive. The multicultural cast, along with the prominent role of Dell’Anna, reflects how Italian talent is increasingly gaining recognition on the global stage. The cast also includes BAFTA-winning actress Phyllis Logan, while direction is handled by Welsh director Jon Jones (Hotel Portofino).

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The vote of Italians abroad is a theme that often returns to the centre of political debate, especially in the vicinity of the electoral returns. The last opportunity of discussion opened during the examination of the Law of Budget, when the deputy of Brothers of Italy elected abroad Andrea Di Giuseppe presented an agenda on the topic. A question involving millions of Italian citizens enrolled in the Aire to exercise their right to vote anywhere in the world.

The current system, introduced in 2001, allows Italians resident abroad to express their vote by postal mail. A mechanism which over time has expanded the possibilities of participation, but at the same time has also shown limits. Errors in the delivery of electoral ballots, postal delays and alleged irregularities in the voting and scrutiny phases have fueled doubts and controversies on each electoral appointment.

The agenda of Di Giuseppe commits the Government to replace the vote by post with a vote exclusively in the presence of poll seats established only in the Consulates abroad.

A hypothesis that has aroused the perplexity of oppositions, and the Democratic Party in particular, concerned about the possible consequences on the actual exercise of the right of vote by Italians abroad and the risk of a reduction of participation, especially in view of the next electoral appointment of the referendum on justice. Christian Di Sanzo, MP of the Democratic Party elected in North and Central America recalled the danger that this proposal would represent for North America.

“ Such a proposal is likely to drastically reduce turnout in elections. Just look at Europe, where the postal vote records a turnout around 25% for the political elections, while for the elections at the Consulates – the method applied for the European elections, which is possible only in Europe – comes down to 7%”, said Christian Di Sanzo.

“In North America, with huge distances between cities, turnout would be even lower: For example, the many Italians living in Seattle should take a two-hour flight to the Consulate of San Francisco – and I could make dozens of examples of great Italian communities living at hours of plane distance from a Consulate”, is the reasoning of Di Sanzo. “But there are concrete solutions to ensure the safety of voting abroad without penalising citizens like, for example, introducing barcodes to quickly verify that the plico corresponds to a registered voter, printing cards in Italy so as to make them unalterable. It is enough to have the will to adopt serious technical solutions, instead of resorting to easy measures which in fact prevent the right to vote. Asking to go to the Consulate for the vote cannot be considered a viable solution. It is suspected that this proposal a few weeks after the constitutional referendum on justice is aimed only at reducing the vote of Italians abroad,” said Di Sanzo.

So, the debate remains open and revolves around a central issue: guarantee the right to vote for all Italians abroad.

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Patrizia Pasqualetti is a master gelatiera umbra and custodian of a historical reality of the Italian artisan tradition. Grown up in a family that has devoted itself to ice cream for generations, he has been able to combine the experience inherited from his father with innovation. After refined the art of ice cream in the family laboratory, he brought the brand Gelato by Patrizia Pasqualetti in the United States, where today he guides several ice cream shops, including a new opening with Eataly in New York. His work combines loyalty to artisan recipes, attention to the sustainability of ingredients. We interviewed her for New York

What childhood or family memories have brought you closer to the world of homemade ice cream and to the culture of Italian taste?

For me, ice cream has always been, since childhood, a moment of joy and sharing. I remember afternoons in the countryside, from grandmothers or to the sea, when the best time was snack with ice cream. My family, actually, wasn’t born with ice cream. My father worked in Milan in the engine industry, far from the world of pastry. Then, after a sabbatical year spent traveling and discovering new horizons, he decided to follow a different passion: wanted to create something “clean and fragrant” that would bring people pleasure. A great fan of gastronomy, he often brought us, my sister and my mother, to discover the most interesting restaurants, getting in touch with great masters like Don Alfonso Iaccarino and Gualtiero Marchesi. I, a teenager, followed parallel humanistic studies in Letters and Philosophy, convinced that my career would be linked to teaching. But, as often happens in Italian families, after some teaching experience, it was clear that my journey would follow the family company, founded by my father in Orvieto in 1981: the Gelateria Pasqualetti. The beginning was not easy. My father, extremely meticulous and meticulous, supervised every detail. Only after years I managed the ingredients always observing and learning its precise and rigorous method.

When did you realize that ice cream would become not only a passion but a profession?

Step by step, my path in the world of ice cream was born, woven the family passion with care for quality and respect for raw material. I must say that, in a relatively short time, that initial curiosity has become a real passion. For me ice cream is no longer just a job or dessert to taste: has become a reason for life, a philosophy. My father always appreciated the idea that I could, thanks to him, understand the origin of the ingredients, study them and understand their value. I learned to respect every fruit, every aroma, transforming a seemingly simple gesture like making ice cream in a cultural act. And precisely this allowed me to return to my background: to make food culture, to tell stories behind every ingredient and behind every processing choice, is something that for me has a fundamental value. Ice cream, so, has also become a training tool: not only learn the techniques, but understand how to communicate them, how to convey the beauty and complexity of a profession that is often underestimated. Telling the ice cream means telling a story of tradition, passion and quality research, and this is something that many people still don’t know how to do.

He often talks about ice cream as a perfect balance between creativity, technique and sensitivity. What is his philosophy of ice cream?

Behind each product with an artisan spirit there is a lot of passion, patience, love and presence: these are the elements that make ice cream special. Being Italian naturally gives us some credibility: we are perceived as ambassadors of culture, good food and good wine, and this gives us an initial advantage. A product like ice cream, moreover, is extremely popular and accessible, without a precise target, and this makes it appreciable by everyone. Our mission is to propose it in the best possible way, so that it is appreciated by an international audience not only from the point of view of taste, but also in the nutritional aspect. The real Italian ice cream, in fact, is a healthy ice cream: it has few calories, contains little sugar and points to the quality of the ingredients. Continue to respect this philosophy allows us to maintain high satisfaction of our customers, who appreciate more and more this attention to goodness but also to the lightness of the product.

Was there any difficulty in keeping alive the Italian tradition of ice cream while innovating and adapting to an international audience, such as New York?

There are always difficulties. Every day we have to face various challenges, and most of all when working with humanity: it is an aspect that I consider fundamental in our team. It is about managing everyday obstacles, which can be the difficulty of finding an ingredient or that of making the team understand the value of our product. However, the constancy, perseverance and love that distinguish today my mission allow me to face every day in an extremely positive way. As for the American public, and especially New Yorkers, the reactions were all extremely positive. To those who dream of bringing a piece of Italy – or of themselves – into the world, I would say first of all to be always completely self. It is essential to cultivate one’s own personality and to face the world with confidence. It is important to maintain faith in its identity, Italian culture and, above all, its personality. I like to think about the beginning of my story with an image: that of my father, who dreamed of seeing his daughters next to him in the lab. From his point of view it was a romantic gesture, a desire to share passion and work with us, and that image accompanied my path from the beginning.

What is more important to get to the customer: taste, tradition or personal history?

It must be a perfect balance between all three. No one has to prevail over the others. Our story helps us to tell the product we make, but the customer must perceive serenity: It must not be overwhelmed by our history, but it must be able to live the full pleasure of what is tasting. If then, of course, remember that ice cream was made by me, Patrizia, and which represents three generations of our family, for us it is a great joy. It is part of our community, but what we want to leave above all is the memory of taste: that emotion and that memory linked to the flavor that remains long. I had people in the United States who, visiting Orvieto, told me: “I ate your dad’s ice cream” and I was so excited.

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An event that combines past, present and future of Bocconi: “Bocconi Meets New York”, housed in the spaces of Piazza Italia, brought together students, professionals and families to explore the opportunities of study and career related to a university that from Milan looks to the world.

On November 3, between Manhattan skyscrapers, the Bocconian community met for an evening that celebrated the strength of an academic and professional network capable of crossing the ocean. “Bocconi Meets New York” has been one of the most significant events organized in the United States by the Milanese atheist in recent months: a meeting designed for future students, alumni and professionals who found in Bocconi a starting point for their international careers.

To welcome, the Consul General of Italy in New York, Fabrizio Di Michele, together with the representatives of the local chapter of the alumni, who for years animates the presence of Bocconiana in the city. New York is in fact one of the most vivid poles of the Milanese academic diaspora: students, consultants, analysts and managers who share a common background and a global vision.

The heart of the meeting was entrusted to Chiara Fumagalli, Dean of Undergraduate School, and Mario Tabarini, Director of Guidance and Recruitment. The latter has remembered how Bocconi is now an authentically international reality: “Over 60% of our students come from outside Italy. And the city from which more students come is just New York.”.

Fumagalli emphasised the balance between academic rigor and quality of university life: «Bocconi combines a high quality training with a stimulating life experience, also thanks to the Italian context».

The word then passed to students, real ambassadors of the Bocconian experience in the world. Giuseppe Spina, exchange student in Princeton, told how the Milanese university can offer a campus experience comparable to the American one. Gaia Rosso Berto, in an internship in New York at Once Capital Management, emphasised the human value of the received training: «The Bocconi has given me a lot, especially a network of people that I will bring with me for all my life».

The highlight of the evening, the round table “Bocconi Alumni in New York: In Their Own Words”, moderated by Veronica Sullo, Head of International Recruitment. On stage, three alumni today protagonists of US finance: Michael Del Nin (Family Office), Giorgia Turri (Clear Harbor Asset Management) and Christian Iorgoveanu (Goldman Sachs). Their stories showed how Bocconian training is recognised and valued in the most competitive contexts in the world, from consulting to investment finance.

The testimonies also highlighted the differences between Italian and American professional paths, but with a shared firm point: the ability of Bocconi graduates to move with agility between different markets, languages and cultures.

The evening ended with a lively moment of networking, a sign of a community that not only finds itself, but grows and strengthens itself at every meeting. Among the applauses and business cards exchanged, a certainty emerged: Bocconi is not only an Italian university in the world, but a real global hub of talent and connections.

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After the success of New York, Campus Salute – the initiative dedicated to the promotion of health prevention and volunteering in the medical field – has first stopped in Detroit. An expected appointment, made possible thanks to the collaboration between the Consulate of Italy and the Dante Alighieri Society of Michigan, confirming the vocation of the exhibition to be a bridge between health, education and culture.

Born in 2015, Campus Salute brings to Italian communities abroad a model of prevention inspired by Italian public health values and volunteering as a tool for cohesion and solidarity. The Detroit stage had long been “in the radar”: a vast territory, where the Italian presence is articulated but deeply rooted, and where the arrival of the initiative found a community “open, welcoming and ready to participate”.

“The goal of Campus Salute is twofold”, explained the organizer Pasquale Antonio Riccio. «On the one hand promote healthy lifestyles and culture of prevention; from the other to enhance the role of volunteering, which is a flagship of Italy and a valuable resource also abroad”.

At the heart of the mission there is a simple but fundamental idea: help people take care of themselves, spread awareness and bring concrete examples of civic commitment to the territory.

The more than 200 free health screenings carried out on Sunday by the doctors and volunteers of the Campus Salute, under the guidance of the President of Campus Salute Pasquale Antonio Riccio, certify the scope of the success of the initiative, welcomed with enthusiasm by the local community.

The Consulate of Italy in Detroit strongly supported the arrival of the stage, integrating it within the program of the Week of Italian Cuisine in the World. “We have always wanted to promote our cuisine, not only with traditional themes related to taste, but also combining the themes of sustainability, well-being, health and the Mediterranean diet”, said Consul Allegra Baistrocchi.

The presence of Campus Salute volunteer doctors represented an added value not only symbolic, but practical: “Who lives in the United States knows what it means to have access to free health services,” says the Consul. “For this reason the contribution of the doctors who have come specially was very precious, a way to show an Italian excellence directly on the territory of Detroit”.

On Friday morning, the Campus Salute team had received a welcome in Michigan, taking part in the Italian American Summit Cup, which saw the representatives of the Consulate, Dante Alighieri Michigan and de ilDetroiter (represented by the Network of New York).

On the prestigious Detroit Pistons, he had triumphed the full yellow team of the Dante Alighieri Society, a victorious final on the Detroiter team. In the evening the teams engaged in the morning event were invited to attend the winning Detroit Pistons victory over the Philadelfia 76ers in the NBA Cup.

On Sunday, the initiative of Campus Salute volunteers was the Dante Alighieri Society of Michigan, which has been committed to promoting Italian food culture and food education for years.

“To us, promoting Italy abroad also means talking about health, healthy food and healthy food culture,” said Lia Adelfi. «With the Week of Italian Cuisine we work to explain to our students how to read a label, how to recognize Italian sounding and why the Mediterranean diet is so closely linked to well-being».

A commitment that perfectly matches the mission of Campus Salute: «To support a project based on medical volunteering is natural for us. Here in America prevention is fundamental, and it is often also expensive. Bringing a free and high quality service is an act of solidarity that reflects the values of our community”.

The Detroit stage showed how institutions, cultural associations and volunteers can cooperate to bring added value to the community. From the promotion of the correct lifestyles to the spread of Italian culture, to the creation of opportunities for encounter and civic participation, Campus Salute confirms a project able to go beyond the healthcare sector, becoming a moment of shared identity.

An initiative that, as Riccio noted, “finds in Michigan a fertile territory, where the Italian community is ready to share values, knowledge and commitment to collective well-being”.

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Pasolini: Politics & Poetry is a project that combines cinema, music, theater, visual arts and academic reflection to rethink the figure and legacy of one of the most visionary and controversial intellectuals of the twentieth century.

Curated by professor and author Ara H. Merjian (NYU) and creative producer Mila Tenaglia, the exhibition aims to question the present through Pasolini, transforming his voice — poetic and political at the same time — into a living interlocutor for the contradictions of our time. “It is not a matter of commemorating, but of reactivating the radical force of his vision,” the curators explain.

The program goes well beyond the simple retrospective cinema. In addition to film screenings, from Cinetecas, the Criterion Collection and the Light Archives, they find space installations, performances and scenic readings inspired by his work and legacy. The goal is to show a “live” Pasolini, able to speak to the aesthetic, political and moral crises of the present, and to inspire new forms of thought and art.

Among the prominent guests, director and writer Bruce LaBruce, who will discuss the influence of Pauline on contemporary aesthetics after the projection of Theorem (1968), and actor and director Marco Calvani, who will stage A Marxist in New York, a scenic reading inspired by the famous Pasolini interview with Oriana Fallaci.

The exhibition opens on 3 November with Studies on Bach’s style, a concert-performance that interweaves Pasolini’s reflections on music with the performances of guitarist Luigi Attademo and actress Laura Croce. During the two weeks there will be projections of key films such as La Ricotta and La rage (1963), the rare film I turcs tal Friúl — the only theatrical work written in Friuli — and the documentary Pasolini’s Last Words (2012) by the director Cathy Lee Crane, who will personally introduce the screening.

To close the exhibition, on November 11, a historical event: the first North American version of the original color version of The Gospel according to Matthew (1964), restored by Fondazione Arco. The introduction will be entrusted to Stefano Albertini and Antonio Monda. At the same time, in the spaces of the Galleria della Casa Italiana, the Pasolini exhibition will be open: Durations, a video-installation by artists Cathy Lee Crane and John Di Stefano, dedicated to Pasolini’s relationship with time and visual thinking.

SALIENT POINTS OF PROGRAMME

Exhibition – Pasolini: DurationsExposition: 3–14 November 2025 | Lun–Ven, 10:00–18:00 | Galleria, Casa Italiana Artists and filmmakers Cathy Lee Crane and John Di Stefano present a video meditation on the poetic, time and visual thinking of Pasolini.

Performance – Studies on Bach’s style Monday, November 3, at 18:30 | AuditoriumThe guitarist Luigi Attademo and actress Laura Croce intertwine Pasolini’s reflections on Bach with live execution, revealing the spiritual and dramatic resonances that shaped his thought. (In Italian with English survivors. )

Double Projection – La ricotta (1963) & La rage (1963)Wednesday November 5, 18:30 | AuditoriumDue of Pasolini’s most penetrating film essays on morality, faith and modernity. (In Italian with English subtitles. )

First in the United States – I turcs tal Friúl (1996)Thursday 6 November, at 18:30 | AuditoriumRara projection of the only theatrical work of Pasolini in Friulian language, filmed during the Venetian production of 1995 directed by Elio De Capitani. (In French with Italian and English titles. )

Projection and Conversation – Theorem (1968)Friday, November 7th, at 18:30 | AuditoriumA follow, a conversation with director Bruce LaBruce on the influence of Pasolini on aesthetic queer and radical cinema. (In Italian with English subtitles. )

Stage reading – At Marxist in New YorkSaturday 8 November, at 17:00 | AuditoriumScritto, directed and interpreted by Marco Calvani, this work reimagines the dialogue of Pasolini with America through his historical interview with Oriana Fallaci. (English and Italian. )

Projection – Pasolini’s Last Words (2012)Monday, November 10th, 18:00 | AuditoriumThe director Cathy Lee Crane introduces his film-saggio elegiaco that traces the last year of Pasolini’s life, followed by a poetic reading by Stacy Szymaszek, author of The Pasolini Book (2022). (English. )

Restored Projection – The Gospel according to Matthew (1964)Tuesday 11 November, 18:30 | AuditoriumThe Gospel according to Matthew of Pasolini will be presented in the original color version, restored by the Arco Foundation and shown in the first North American. Introduction by Stefano Albertini and Antonio Monda. (In Italian with English subtitles. )

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The Casa Italiana Zerilli-Marimò, part of New York University, was founded in 1990 with the aim of promoting Italian culture and promoting dialogue between Italy and the United States. It offers a rich program of free public events that involve internationally renowned scholars, artists and cultural figures.

Casa Italiana is a lively centre of language, literature, cinema, music, theatre, visual arts, politics and economics. The artist remains a figure of contradiction — revered and criticized, prophetic and vulnerable — but this anniversary invites something more than the mere commemoration. Pasolini: Politics and Poetry instead aims to reactivate the radical force of his vision, questioning his literary and film production along with political, moral and linguistic provocations that continue to shape the global cultural discourse.

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“Do not burn bridges. Become one”: Thus says the claim of the Vitae Fest Foundation that strives globally to support world-renowned leaders, artists and leaders who are active in spreading messages of hope and peace initiatives. Particularly committed to reconciliation through art, media and entertainment.

The president of the Fondazione Vitae Fest, Luis Quinelli, said he was pleased with the great event last October 25 in Rome at the Schuster Park, which saw the participation of thousands of young people.

The great kermesse saw the participation of international artists, including Benji and Faith, September, Akasevene, Father Guilerme, Mimi, Lowrah and Winko. She presented MariaSole Pollio who really moved with her invitation to move messages of peace and hope. This event, with the patronage of the Jubilee, also had the support of Pope Francis and recently that of Queen Mother of Spain Sofia. Strong success already achieved in Mexico, there will also be editions in Washington and Los Angeles.

Luis Quinelli said: “We are happy to have been in Rome, in the Jubilee Year, to promote this edition of Vitae Fest. We are convinced that it is easy to focus on what often divides us. Many often this generates social isolation in young people. “VitaeFest” is more than a music festival. It is a place to start building bridges and create the kind of world in which we all deserve to live.”.

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