Deleuze's film philosophy takes Italian neorealism asthe inaugural moment of modern cinema: the cinema of thetime-image. Although many see neorealism as innovative in terms of itssocial content, Deleuze emphasizes specific qualities of thecinematic image in neorealist films. Examining four exemplary neorealistfilms by Rossellini (Roma città aperta), De Sica (Ladri dibiciclette), Visconti (Bellissima) and Fellini (Le notti di Cabiria), Kelsoillustrates and explains why Deleuze sees this as such a pivotalmoment for the cinema. In turn, Deleuze's philosophy allows one tosee these films in a new light. From the perspective implied by aphilosophy of becoming, the political and social agendas ofneorealist films are not evaluated according to either their reflection ofgiven historical/social realities or retrospectivejudgements regarding the efficacy of their politics. Instead, the politicaland aesthetic import of the films is shown to be a direct consequence oftheir ability to restructure perception and to revitalize thought,even at the expense of traditional modes of cinematic enunciation.