“Cinema is interested in Sicily because Sicily is Cinema” said Leonardo Sciascia.
Born as an instrument of entertainment and artistic expression capable of building the image and identity of the territory of which it narrates, in Sicily it becomes an emblematic case that has contributed to the creation of an unprecedented imagery of the island and of which the art week could not do without. Sicily with its traditions and its millenary history becomes the cradle of cinematography for many Italian directors and not only. From Visconti to Coppola, from Tornatore to Soderbergh – there are many films that portray the most famous places of the island and through them we can discover an unseen and majestic Sicily.
From love stories to “peculiar traits that have become icons of the island itself, such as backwardness, misery, violence”, the Sicilian filmography is among the widest of the Italian regions, because it is capable of narrating the vices and virtues of a characteristic people and territory, made of history, folklore, dialect and breathtaking landscapes.
From “La terra trema” (1948), to “Il Gattopardo” (1958), then “Il Padrino” (1972) and again “Storia di una capinera”, “Il giorno della civetta”, “Malèna”, the Island becomes the fulcrum of stories capable of touching the emotional chords of its audience, involving not only cinema, but also literature itself: we are talking about two expressive forms often in symbiosis.
One of the cases worthy of note is certainly the series
From the binomial “Sicily and violence”, which for many years has been able to portray all the stereotypes that have plagued the Island, to “Il commissario Montalbano” taken from the novels of Andrea Camilleri, which describes another face of the Island, that of an honorable society, made up of honest men, who fight injustice; or “Nuovo Cinema Paradiso”, the film by Giuseppe Tornatore that won the Oscar for best foreign film, which tells of an unprecedented land, even more beautiful: Of a Sicily that is not only mafia.