Abstract: Foucault once jokingly commented on Deleuze’s philosophy by stating that the twentieth century would be known as the“Deleuzian era”. This profound observation stems from the contrast between their philosophical approaches: Foucault’s philosophy is an archaeology of thought, one that views the contemporary through the lens of history, while Deleuze’s philosophy is one of“creating concepts,”approaching the contemporary from the perspective of the future. Humans, unique among all beings on Earth and in the universe, perceive the world through their senses—constantly seeking differences, generating concepts, and escaping established views. For Deleuze, cinema is philosophy, and philosophy is cinema. Through cinema, Deleuze attempts to show us that what matters is not what we know or can verify, but what we believe in and
whether we still hold onto faith. The true significance of modern cinema lies in the fact that genuine thought is not defined by what is already known, but by what is latent or yet to be thought. Thinking is not about explaining; it is about creating. Here arises the perfect opportunity for modern cinema. Modern cinema, or the time-image, transcends all existing boundaries of thought and opens up for us the infinite possibilities of dismantling the closed“cogito.”In doing so, it allows us to rebuild our faith in the world and in humanity itself, inspiring us to pursue and strive for the freedom of thought. Humanity is both the slave and the master of time. The movement- image fulfills humanity’s dream of preserving the“activity”of action, while the time-image represents an attempt to completely“break free”from the limitations of the physical body, propelling human life toward infinite freedom.

Key words: film-philosophy, conceptual world, time-image