This book provides the confluence between two poles to think about film works: the pole of hermeneusis and the pole of splinter. The first refers to arousing a hermeneutics of cinema as a view intervened by philosophy, extra-filmic and extra-hermeneutic theory, for the understanding of the aesthetic, social and environmental forces that are deployed in it. The second pole accounts for the main device with which cinema carries out the rupture of cinema: the splinter image. The perspective of the splinter image shows the friction that certain cinematography has with the historical world, particularly in the face of hegemonic ways of seeing. The potential of cinema to break with established imaginaries, ideologies and cultural forms, the question of how the film leaves its diegetic and formal boundaries to put in crisis some of the imaginary or political-cultural structures of the social and environmental world by that refers. The splinter image is a force that hurts the way in which a society perceives, conceptualizes and ratifies its structures, its entities and its relationships (humans, non-humans, technologies, environment).