Résumé

This article reflects on Cinema as a fictional real or fantasy representation. The objective is to perceive the current Cinema, in a post-moment, to the observation of Manovich (2001), who pointed out that it was no longer possible to separate real Cinema from animated techniques. However, despite films like “Jurassic Park” (Spielberg, 1993) or “Avatar” (Cameron, 2009) only being possible with the structural junction of the live- action image with the animated one, “The Shape of Water” (Toro, 2017) is considered a turning point in the history of Cinema. Awarded the Oscar for Best Feature Film in 2018, it provoked Fernando Meireles’ astonishment: “I don’t understand North Americans anymore”. This observation is from the director of “The City of God” (2002) and “Blindness” (2008). For that purpose, studies by David Bordwell on classic American Cinema and David Butler on fantasy cinema. Nevertheless, looking under the aesthetic gaze of Noël Carroll, the analytical of Edgar Morin and some contemporaries of the emergence of this Art gathered in the work of Daniel Banda and José Moure. The article offers another aspect aligned with the statement provided by Manovich, concluding that Cinema has traveled an ouroboros journey where (re)found a point without boundaries.