https://doi.org/10.21697/zk.2025.12.10
The local landscape is an important element of Sardinian cinema. It does not matter whether the directors opt for a mountainous or coastal landscape, it represents a type of expression that Sardinian cinema reproduces and incorporates into its system of denunciation. The cinematic landscape has an essential function here; without it, the stories told would not be as credible. Despite the fact that we are talking about an insular landscape, in Sardinian cinema, it is difficult to speak of the Mediterranean landscape acting as a mere decoration. On the contrary, the cinematic landscape in the analyzed films plays an important role, becoming an inseparable background for the actions of the characters. And although in many films by Italian (but not Sardinian) directors it is an imaginary landscape, the Sardinian landscape certainly creates the right ambience for the stories being told. Sardinian directors, on the other hand, try to deconstruct the stereotypical images of the island by introducing, for example, different types of cinematic landscapes (mountainous, coastal, agricultural-pastoral or mixed), which are contemporary signs of their regional identity. In films shot in Sardinia up until the 1980s, the island was usually depicted through the usual stereotypical clichés, with nuraghes and centuries-old vegetation, a land where time seemed to stand still. The wilderness was well suited to being transformed into a Wild West (Far West Sardo) inhabited by shepherds, outlaws, fishermen and women in black. It was not until the 1990s, with the emergence of a new group of directors born and raised in Sardinia, that cinema sought to overturn these simplistic mental images and a whole new chapter in the cinema history of this small Italian region began.
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