Cinematic slowness, political paralysis? Animal life in BOVINES, with Deleuze and Guattari

Deleuze elaborates accounts of cinematic time and of becoming-animal quite separately, without addressing potential links between these accounts. Drawing on a range of works by Deleuze and Guattari, this article allows these accounts to intersect through a reading of the aesthetics of slowness in the documentary art film Bovines ou la vraie vie des vaches (THE TRUE LIFE OF COWS, Emmanuel Gras, 2012) and its generative focus on (de)territorialisation, becoming, and affect. In privileging what Peter Hallward calls ‘virtual creatings’ over ‘actual creatures’, Bovines implicitly proposes a celebration of biovitality rather than an interrogation of biopolitics, pointing to the possible political limitations of the film and of the Deleuzo-Guattarian framework deployed here.