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Abstract
This article considers the realms of space, time and body in Daniele Ciprì and Franco Maresco's films Lo zio di Brooklyn (1995), Totò che visse due volte (1998) and the shorter A memoria (1996). It engages with the directors' use of the horizon, both physical and phenomenological, as a tool through which to examine man's relationship to history, as well as the effects of this relationship on the body. Proposing that a visually obfuscated on-screen horizon represents man's remove from historical awareness, it reads Ciprì and Maresco's films as a warning against the dangers of shortsightedness.