Keywords

• Contemporary theory often reflects on the existence of a "European cinema"
• with reference to the ongoing geopolitical changes in this area. Beyond the attention to international co-productions and the exclusive focus on the work of diasporic and exilic filmmakers
• my research addressed to the representation of multiple imaginaries in European cinema
• both "accented" and mainstream.This essay faces some aspects of the transnational approach to European cinema
• in order to underline the relevance of "multiple occupancy" in the construction of identities. Furthermore
• through a brief analysis of Bend It Like Beckham
• the essay will explain the intertwining of identification and desire (Fanon) for the construction of a rhizomatic identity (Glissant) and of mestizaje (Anzaldúa)