The photography is typical of Taviani films. They favor fairly long takes, usually with rather static actions within the frame. Camera moves tend to be economical. They use action and movement to underline the important points, rather than to dazzle. The settings are humble and the Tavianis have wisely chosen not to make them any more glamorous or beautiful than they really are.
Fields are generally dry and filled with stones.
Homes often have dirt floors. Shadows exist because lighting is sparse, not because the cinematographer wanted to etch a face with patterns of dark and light. The photography in Kaos is a fine example of the restraint of individual virtuosity in favor of the overall good of the film. The cinematographer is given his reward in the epilogue, which is set largely on an island surrounded by an incredibly blue sea. Here, he is able to let loose with some really beautiful shots.