In contrast, the final essay certainly carries the most interesting and audacious research of the book. There Bonfand reaches the deepest confrontation between cinema and painting by discussing the limits of their relation: when cinema, looking for its true essence, rediscovers at the same time the origins of painting and so is aimed to produce images ‘not made by the hand of man’: acheiropoietos images. As one may well know, the notion of the acheiropoietos image comes from the Christian iconographic tradition and counts three main images of Christ’s Face: the Mandylion of Edessa, the Shroud of Turin, and.
