Dense, erudite and sometimes even esoteric, Bonfand’s book is written for the scholar rather than a more general audience. Nevertheless, one has to acknowledge the risk-taking and even the tour de force aspect of the book in which Bonfand ponders the relation between painting and cinema in a very new way. Finally, this work is very encouraging for further investigations of the phenomenology of film using the groundbreaking concepts of the French new wave in phenomenology. After a rather intense period of discussing the aesthetic relationship between cinema and painting in the early nineties, French research in Film.
