Abstract
The article interrogates the significance of the conjunction which has been taking place in the last few years between French cinematographic practice and French film studies around the topos of the body. The article looks at the extent to which such a correspondence between practice and theory casts the body as a critical paradigm. Connecting this new status of the body to the one already put forward by several philosophical discourses (mainly that of French philosopher Gilles Deleuze) in their attempt to entangle cinema and the body in one and only theoretical framework, the article assesses the need for today's cinematographic critical discourse to contextualise further its conceptual productions.
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