With its slow rhythm, focus on the mundane and struggle of finishing a single painting, Erice’s El sol del membrillo can be presented as a meditation on the passing of time, hovering between documentary and fiction. Its title, which was translated into English as Dream of Light (The Quince Tree Sun), refers to the sunny period in the autumn that coincides with the ripening of quinces. Both the filmmaker and his painter character attempt to capture the shifting light as it changes with the passing days.

Cinema, for Erice, ages at the very moment of its birth, it never stops putting those first sensations at a distance. And there is no remedy for this loss, certainly not the one that would consist in reproducing something, as one places a sheet of tracing paper to reproduce a drawing. From his cinema Erice has banished forever the re-creation, pastiche, the incestuous and vain reference. Instead, he explores dream images, the imaginary, the empire of spectres and sometimes the captivating incarnation of Spirits.