Focusing on Tsai Ming-liang's films, Wayward Cloud (2003), What Time Is It There (2001), and I Don't Want to Sleep Alone (2006), this essay enacts a dialogue between those films and Gilles Deleuze's theories and methodology of ＂the cinema of the body＂ and ＂time-image＂ to undertake a metaphysical and aesthetic contemplation of the dialectical and paradoxical relationship between cinema, body, and time. In the three films, Tsai's cinematic experiments include presenting the duree (and ＂before and after＂) of the characters/nonprofessional actors' everyday bodies through camera, superimposing the crystalline circuit between the everyday body and the ceremonial body and between the actual image and the virtual image with the voyeuristic gazedesire circuit, practicing cinematic intertextuality and hybridization of various film genres, and exploring non-chronological time and ＂Cronos,＂ opening up the infinite possibilities in exploring the relationship between the body, time, and cinema. In Wayward Cloud, the hyperbolic pornography of ＂media-body＂ not only enacts queer performativity, but also turns the body into the pure opsigns and sonsigns via a series of displacement and substitution of desire, gaze, and bodies, revealing the illusionary and phantasmatic situation of body. In What Time Is It There, with strategic deterritorialization of time and place and the metonymy between body-image and time-image, Tsai presents the Taipei-Paris everyday bodies and Tsai Ming-Liang-Francois Truffaut cinematic memory via the intertextuality between his and Truffaut's films. In I Don't Want to Sleep Alone, Tsai deterritorializes the ruin of an opera house in Kuala Lumpur, turning it to any-space-whatever to make palpable the complex entity of affection-images which serve as duree, interface, and trans-image in crystallizing the false narrative of ＂I is another＂ connected to the deja-la worldmemory and affect.