(Dis)encounters in any given place

The present thesis aims to think of the work of filmmaker Sofia Coppola from the concepts of cinema developed by the philosopher Gilles Deleuze. The characters of the cinema of Sofia Coppola, especially those of Lost in translation, Marie Antoinette, and Somewhere, three films analyzed in this thesis, have similarities with the character visionary, of which Deleuze treats when speaking of the image-time, as they break with the sensory-motor chain. The characters of these three films represent a model of success, beauty and consumption in the society in which they are inserted. However, they do not seem to be satisfied with their position, since they live melancholic and displaced in their lives, as if they did not want to fill the role to which they were assigned. In this way, the cinema of Sofia Coppola presents a questioning of the models propagated by a cinema that reproduces patterns and clichés, corroborating for the maintenance of closed circles that imprison. Their characters, by not conforming to these circles nor to the sensory-motor schemes that keep them, are crossed by intensive encounters that open to virtualities, giving rise to a new image that crystallizes sensations. These sensations are traced in Sofia Coppola's cinema, seeking to highlight the percepts and affects that crystallize in the interval, in the breakdown of the sensory-motor, that their characters promote, both disconnecting from the organic narrative, by means of perambulation and lack of reaction, and connecting to the vital whole through the intensive encounters they experience. For this, a return to some of Gilles Deleuze's thoughts on cinema and Henri Bergson, showing how humanity creates closed societies, stucked in representational circles, bonds and hierarchies and how these circles remain through sensory-motor schemes. It is these same schemes that materialize in the formulas of Hollywood¿s cinema and function as major producers of clichés. From the fabulation of her characters is that the cinema, as can be identified in the work of Sofia Coppola, can lead to the creation and play a political role, as stated by Gilles Deleuze, who helps to break with the oppressive patterns and builds people to come (AU)