Cinematography affirmed its status as an art of synthesis, in which an important component is attributed to fine arts. The assimilation process of various works of art by the cinematic language continues by perfecting the means of audio-visual expression, influencing, in its turn, and enriching with new artistic possibilities other kinds of art: theatre, choreography and, in particular, fine arts. The disputes about the film genetic correlations with the fine arts started along with the emergence of film and continued to shape the aesthetic premises of films dedicated to arts. These co-influences of arts constitute conclusive evidence of the interferences, assimilations, and finally, of the complexity of the contemporary artistic phenomenon occurring in the structures of the film about art. We will examine the views of notorious academics, film critics and filmmakers – Serghei Eisenstein, Andre Bazin, Jean Mitry, Henry Lemaitre, Carlo L. Ragghianti, Guido Aristarco, Paul Rotha, Umberto Eco, Luigi Chiarini, Zbignev Czeczot-Gawrak, Nina Behar, etc. – referring to the definition of the film about fine arts and some issues related to aesthetics and cinematic language peculiarities of this category of films.