The interior allows to capture the particular declinations in which architecture interprets the social and cultural function of Cinema, so that it allows to read the evolution of the role and meaning that this space has taken on the level of use, but also on the level of social role, as a place of collective rituality but also a place of the individual imagination. The Cinema from its birth has represented a revolution, not only on the level of artistic expression, but also on that of social behavior. The space of the cinema is that of a place where the paths, the shape of the room, its capacity, the presence of services, the decorative apparatus, converge to qualify an experience that has its most intense moment when, extinguished the lights, the physical space of the architecture disappears, the lived time is suspended, to give rise to a totalizing immersion in the story, in the projected images and in the sound that we listen to. This would seem to subtract importance from the architecture of the interior, recognizing it only to performance issues. History, on the other hand, shows us that, in a different way by the different culturale climate, great attention has always been paid to interior architecture, almost to make us think that signs, entrances, foyers, decorative equipment, furnishings, lamps, assumed the role of narrating all the imaginative projections related to the experience of Cinema, as well as expressing the social and civil conception that at that time there was. Beyond the screening room, the spaces that precede or follow it play an important role, where the social and collective dimension of the event is also consumed and represented, made of sharing, exchanges, comments, which together with the individual experience, converge in making Cinema, as an art and as a phenomenon, a very important and significant element of contemporary cultural life.