"One always wonders if there will be no life or intelligence on other planets, somewhere in the stars ... but we never ask the question about the infinitely small ... Maybe because that can come from that side, from a universe Even smaller than atoms, electrons, quarks. "

Although he wrote very little about cinema, Felix Guattari was a movie buff. He was particularly interested in the stakes and political challenges involved as a machine of subjectivation, whether the post-1968 radical 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 conservative libidinal economy and a revolutionary break." So, however unexpected, it is not Strange that in an attempt to move to the action has tried luck with the realization of a science fiction film, a genre that in the eighties had managed to capture the yearning for an alternative way of life that fed the counterculture projects, the possibility Messianic 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 with a subatomic entity called "Infra-Quark Universe" is narrated. , The life of a community of squatters and then the planetary landscape as a whole.Although after many failed attempts the film could never be realized, the script itself, influenced both by the clinical work of Guattari, his activism Political, his passion for comics and free radios, offers a prototype of popular subversive cinema, a cinema that removes the semiotic codes of genres by capturing fragments of an eclectic repertoire of film references ranging from close Encounters of the third type to Blade Runner and reintegrate them as components of a more rebellious deterritorializing machine, a world in which Godard, Tarkovski, Pasolini and Antonioni exchange ideas with Cronenberg And Carpenter.