TABOO - TRANSGRESSION - TRANSCENDENCE

This paper investigates the cinematic use of landscapes as dynamic spaces that embody migration, transformation, and the coexistence of multiple realities. Drawing from Michel Foucault's concept of heterotopia, it explores how filmmakers utilize landscapes not only as physical settings but also as narrative and symbolic constructs. These spaces serve as liminal zones where personal and collective identities are negotiated, cultural boundaries are crossed, and the tension between belonging and displacement unfolds.

Through an interdisciplinary approach combining film theory and cultural geography, the paper highlights how cinematic landscapes evolve as active participants in storytelling. They function as repositories of memory, catalysts for transformation, and metaphors for broader societal changes. By examining examples from Greek cinema, the paper demonstrates the diverse ways landscapes articulate migration narratives—both literal and metaphorical—while fostering heterotopic layers of meaning that blur the lines between reality and imagination.

As a case study, the paper delves into the works of Dr. Iakovos Panagopoulos, particularly Flickering Souls Set Alight(2019) and Allimono (2020). In these films, the author-director employs landscapes to reflect emotional and societal migrations, creating heterotopic spaces that challenge normative perceptions of identity and belonging. In Flickering Souls Set Alight, the landscape becomes a vessel for memory and grief, while in Allimono, natural and rural environments serve as transformative arenas for questioning societal norms. These case studies provide a focused lens through which the theoretical framework is applied, showcasing the potential of landscapes to transcend their physicality and become sites of profound cinematic exploration.

The paper concludes by proposing a comprehensive framework for understanding cinematic landscapes as tools for addressing contemporary issues of migration, displacement, and identity, with Panagopoulos’ films serving as an example of this practice.