Bonfand’s style takes full advantage of the freedom allowed by the essay form. In the first place, Bonfand’s use of bibliographical materials follows a strict parti-pris. While he gives great importance to the filmmakers, or painters, own words, often quoting interviews or autobiographies and excavates and values non-produced film scenarios (in the two chapters on Antonioni), he does not waste time nor room by quoting existing books on the subjects he approaches. This orientation is sometimes embarrassing and weakens the intellectual honesty of the book as a whole. .
