In his recent book Cinéma, machine à mondes, Alain Boillat develops a world-building approach to cinema stressing, especially in science-fiction, post-apocalyptic fictions or metacinema, the importance of worlds and world-building. The particular attraction and pleasure of this type of films would be based upon the representations themselves of these plural worlds. The visual actualization and the conflicts in interpretation between those worlds would form the basis of their fiction rather than strictly narrative dynamics, plotting and characters (Boillat 2014). This last formula should be used cautiously, because it does not mean that there are no narrative, dramatic events nor action in movies like The Matrix, Dark City, Pleasantville, or Truman Show. There occurs a change in proportion in which worlds cease to be considered as the background for narrative actions and transformations. The mundane paradigm implies that this cinematic dimension of plotting and actions is drawn out of the presentation of worlds (at least two worlds: what Boillat calls “bimundane”), probing the ontological differences between them and, obviously, in the predominant dystopical and dysphorical structures of their narratives, dramatizing the mere conflict or antagonism between them.