The dissertation will explore postmodernist theory and practice in order to establish the notion that art forms allow for conceptual disruptions that are able to challenge dominant hierarchies of thought and propose alternative means of structuring sensory experience. The works of Fredric Jameson and Jacques Derrida – amongst other scholars – will be crucial to examine key notions such as the obliteration of the boundaries between disciplines and cultural distinctions, and the deconstruction of binary oppositions and their hierarchies of values. It will be argued that artistic genres are able to reorient thoughts and generate reflection amongst different faculties, revealing the cultural contingencies of philosophical categories and allowing for the emergence of subversive interpretations that challenge dominant cultural perspectives and fixede textual meanings. By focusing on the work of Jacques Rancière and Michael Shapiro, emphasis will be placed on cinema as an art form due to its unique potential in reframing realities and challenging official discourses embedded in war policies. Hence, the film Miss Bala (Gerardo Naranjo, 2011) will be investigated in order to advance differentiated critical insights to the dominant official discourse offered by the United States government regarding its policies towards the illicit drug trade, especially in relation to Mexico. Thus, distinctive cinematic resources employed by the director will be studied, namely: the predominance of the centrifugal being (steadicam-driven style camera movements that follow the main character at arms length from behind); the invisible focus on the out-of-field; and, materializations of encounter taking place on mobile sites (the multiplicity and variety of car scenes) and fixed sites (appropriation of the main character s body through the multiple scenes of (un)dressing and being (un)dressed). Each of these aesthetic resources will be studied in consonance with central themes in debate about illegal drug trade in Mexico, in order to raise alternative critical questions and ultimately to endorse the notion that, as Michael Shapiro asserts, images can and do think politically.