Abstract
In the film The Quince Tree Sun (V. Erice, 1992), we can peruse a movement that takes us from the realistic Aesthetics followed by both artists, painter and director, to a certain ontology rising from the aesthetic experience. The discussion of this matter is near and emerges through direct contact with daily objects. And this aesthetic Experience appears not only as a perception of Beauty, but also as some kind of relation with Reality: A filmic image, Erice says, could only be beautiful because it is necessary; that is, because it is fair. Beauty is not foreign to the perceiver, but, the filmmaker asserts, it establishes a relationship of fairness and necessity between the subject and the object.
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