The present essay seeks to analyze the reflections on cinematographic art proposed by Jean-Luc Nancy, referring in particular to his L’Évidence du film. Abbas Kiarostami (2001) as well as to other studies where the author reconsiders the concepts of image and gaze. The specifity of films lies in “evidence”, which is a way to affirm the finite character of existence-presence. Cinema addresses the world without any form of realism. It is reality itself to open out to the image. What results is a possible gaze which is no longer on representation and nor can it be a representative gaze. This gaze does not look at any object; the very act of seeing can be seen through it.