Gilles Deleuze is one of the prominent philosophers that made palpable connections between cinema and thought. He elaborated a systematical thinking in the books titled Cinéma 1 and Cinéma 2, in which he categorized the films basically as movement-image and time-image. That was a different approach than the film philosophy canon that preceded him and promises a high potential for academic inquiry. In this sense his work inspired diverse studies in and outside the field of cinema in recent years. While creating the concepts and constructing a taxonomy Deleuze mainly referred to European and American cinema and determined the social trauma caused by World War Two as a milestone for cinematic narratives. Considering the increase in the number of films in recent cinema of Turkey (which can be labeled as time-image and which have been produced under the country’s specific/distinctive post-traumatic conditions), a deployment of Deleuzian approach in cinema of Turkey might provide ground for fruitful analysis. This work first focuses on as a philosopher how Deleuze grasps cinema and situates it in relation to philosophy, which is followed by the explication of movement-image and time-image concepts. The latter part projects the various elements of time-image category to recent cinema of Turkey, by tracing the films Angel’s Fall and Waiting Room.