When Deleuze in the 1980s argued that 'the brain is the screen' he introduced the concepts of movement-image and time-image, two different modes of cinema with particular ontological and aesthetic characteristics. Contemporary cinema, however, has moved into yet another aesthetic mode, which I have proposed to call the neuro-image. One of the characteristics of the neuro-image is that we no longer follow the movements and actions of characters in a certain space (as in the movement-image), nor

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... ee the world coloured through their eyes (as in the time-image), but we (often quite literally) experience brain worlds more directly, from within mental landscapes. In this essay I will investigate in which ways these brain worlds aesthetically express an embodied and embedded brain, addressing the new materialist dimensions of the neuro-image in a journey of cosmic cinema and, to speak with Barad, 'meeting the universe halfway.'