Nevertheless, one must acknowledge that Bonfand’s book takes risks, and can even be called a theoretical tour de force. By rejecting citation and confronting painting and cinema according to their ‘phenomenologicallity’, Bonfand truly ponders the relation between painting and cinema beyond the box, even though the correlation between the two may sometimes seem too loose in a couple of chapters. Additionally, the different essays remain too randomly juxtaposed, which deprives the book from having a solid structure and argument. Finally, this work is above all very engaging and encouraging for further investigations of the phenomenology of film using the groundbreaking.
