We should not think of Andr?? Bazin's work as a naive defender of crude realism. In his most elucubrated essays, a sustained layer of phenomenological demands appears to anchor ethical values, mostly related to post-war existentialist demands. There we can find a renewed personal fight with a latent ‘gourmand’ eye, always aware and distrustful of the camera intensity's ontological potentialities. The ‘ontology’ of Bazin's image should be dealt with carefully hands, with stylistic mise- en-sc??ne and montage procedures that take care. If we call this ethical image ‘realist’, it should not be impoverished by the idea of an objective nature. It is not the representation of reality as a rational exteriority that counts for Bazin. The narrow path between the brute singularity at the take and its representation as ‘aisth??sis’, makes an openness in subjective sensation, turning itself over the world by the camera apparatus, as it appears as film.