Enchanted Mountains is the title of a series of photographic works made by Michelangelo Antonioni, reworking and remediating some of his paintings. Enchanted Mountains is an extraordinary example of how the intersection of specific media forms of vision (i.e. painterly, photographic, cinematic) have the possibility to recreate the idea of landscape, to renew our concept of environment. Here, the final work is given neither by the individual paintings nor by their specific photographic reproduction, but by the enlargement of small details of these paintings, capable of generating a radically renewed relationship between work and gaze. The enlargement of these pictorial details generates a process capable of revealing a new reality: a series of photographic blow-ups intended to create mountain peaks where, originally, there were only spots of color, chromatic matter. This delicate relationship between painterly detail and photographic enlargement characterizes not only the work for cinema (and photography) made by Antonioni, but also the work of other contemporary authors, such as Nuri Bilge Ceylan, Terence Malick, Patricio Guzman, Kleber Mendonça Filho, as well as documentary essays like Anthropocene (2019), created by Jennifer Baichwal, Edward Burtynsky and Nicholas de Pencier. In this particular film, the landscape is represented by comparing details of the environment with images that are able to show the immense vastness of nature: an intimate and personal reworking of reality itself, which reimagines a landscape through intermedial techniques and forms of vision.