One always wonders if life or intelligence will not exist in other planets, in some part of the stars ... but we never ask ourselves the question about the infinitely small ... Maybe because that can come from that side, from a universe still smaller than atoms, electrons, quarks. Although he wrote very little about film, Félix Guattari was a movie buff. He was particularly interested in the political stakes and challenges involved as a subjectification machine, be it radical post-1968 films or large-scale Hollywood productions. "Cinema is political whatever its object (...) In each production, in each sequence, in each frame, it is chosen between a libidinal conservative economy and a revolutionary break." So, however unexpected, it is not I miss that in an attempt to take action I have tried my luck with the making of a science fiction film, a genre that in the eighties had managed to capture the longing for an alternative way of life that nourished countercultural projects, in the possibility messianic of life in other galaxies. Thus, between 1980 and 1987, Guattari worked with the American filmmaker Robert Kramer on the screenplay of Un amor de UIQ, a film in which the first human contact is narrated with a subatomic entity called "Infra-Quark Universe" that will disrupt, first , the life of a community of squatters and, later, the entire planetary landscape, despite the fact that after numerous failed attempts the film could never be made, the script itself, influenced at the same time by the clinical work of Guattari, his activism Politics, his passion for comics and free radio, offers a subversive popular cinema prototype, a cinema that removes semiotic codes from genres by capturing fragments of an eclectic repertoire of film references ranging from Close Encounters of the Third Type to Blade Runner and reinsert them as components of a more rebellious deterritorializing machine, a world in which Godard, Tarkovski, Pasolini and Antonioni exchange ideas with Cronenberg and Carpenter.