Since new queer cinema of the 90s, resistant films have favoured temporal paradigms and mobility, over spatiality and emplacement. Problematically, however, the temporal mobility of queer could be seen to reinforce, rather than contest, the position of a fixed, singular heterosexuality. Furthermore, considering what Luce Irigaray identifies as the historical and cultural hierarchy of masculinised time over feminised space, it risks reaffirmmg a heterocentric logic where woman's relation to space is passive rather than active. This thesis challenges the above implications.