Abstract

The article focuses on an evolution in Garrone’s way of interpreting reality and the director’s use of cinematic space in three of his films: his first two full-length features, Terra di mezzo (1996) and Ospiti (1998), and his more recent Dogman (2018). As his filmmaking takes on the new direction, it is interesting to note how realism and fairytale are juxtaposed in this cinematic space. An attempt is made at showing a progression in his cinema: the cinematic realism on location of his earlier works is brought into the beach commune of Castel Volturno.