This chapter puts forward the thesis that the politics of affect is the composition of bodies. To articulate this thesis, I will turn to Gilles Deleuze and Félix Guattari, from whom it is possible to take the notion of the body as an arrangement of affects that is composed of blocks of becoming with other bodies. Then I will borrow a couple of concepts (‘movement-image’ and ‘time-image’) from Deleuze’s film philosophy in order to propose some tools for analysing and theorising politics of affect. Lastly, I will use George Miller’s film Furiosa as an illustration of how the two images work together in a work of art. This leads me to an argument that their paradoxical togetherness also characterises the dominant and paralysing structure of feeling today.