Abstract:

Abstract Fargo, a film by Joel and Ethan Coen, will be analyzed aiming to interpret it towards Deleuze's concept of mental-image. Despite his apparent format of conventional crime comedy, this opus consists of an example of a work localized at the edge of classical cinema, never breaking with its limits. The film is understood as an indication of a detachment from the action-image, recurring less to the synsign/binomial, resource intrinsic to the secondness. In Fargo, the contraposition between the acts and the events which will guide then from a situation to another becomes dispensable. Submitting the gestures to an idea, it becomes possible to the movie to operate according to a thirdness, introducing thinking in the image and conferring centrality to a concept defined by the error, which the work happens to be his illustration. Fargo exploits this mechanic, in gestures condemned to conduct to the destruction of everything that constitutes his plot.

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