Abstract
This article explores the treatment of the face in the work of Palermo filmmakers Daniele Ciprì and Franco Maresco and proposes several considerations regarding the stark nudity of the face, its rawness and strength, and the relationships that the two filmmakers establish between face and mask. Through an analysis of the cinematic fiction of Maresco and Ciprì – Lo zio di Brooklyn (The Uncle from Brooklyn) (1995), Totò che visse due volte (Totò Who Lived Twice) (1998) and Il ritorno di Cagliostro (The Return of Cagliostro) (2003) – as well as their television work on Cinico TV (1989–96), this article demonstrates how the face emerges as a powerful tool that combats aesthetic homogeneity and narrative indoctrination of the media, as well as outlines a grotesquely attractive world.
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