Nevertheless, if Marion limits the notion to a dazzling sight, Bonfand pushes the thought further: in cinema, the saturated phenomenon becomes something which is impossible to film, something which literally overflows the frame (the screen) of its representation and actualization within the medium. Immensity is fully a saturated phenomenon. Just as Still points to immensity by over-sizing the frame until denying it and letting the plain colours emerge from black scraps which withdraw from the borders, Bonfand shows how Ford points to immensity by using a frame inside the screen as a way to let the off-screen space enter.
