Bodies So Close, and Yet So Far: Seeing Julian Hernandez’s El Cielo Divido through Gilles Deleuze’s film theory

Gerard Dapena

A nuanced analysis of one specific Latin American film, El Cielo Divido (Mexico) that shows “what this film might have to say about new subjectivities and sexual identities as they are constituted in a world of time and sensation, or materiality and immanence.” The article is very considered in terms of its own position in relation to Anglo-American scholarship on Deleuze and cinema, and notes accurately for the time of its publication that as yet there has been relatively little exploration of Latin American cinema using Deleuze.