This study argues that neorealism's visual genius is inseparable from its almost invisible relation to the Fascist past: a connection inscribed in cinematic landscapes. Through her readings of canonical neorealist films, Minghelli unearths the memorial strata of the neorealist image. Films discussed include Ossessione (1943) Paisà (1946), Ladri di biciclette (1948), and Cronaca di un amore (1950).