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Borders cannot be reduced to more or less continuous lines, in a surface-based, timeless vision of space. Border regions attract dense networks of migrations. Documenting and mapping the mobility of the border and within the border region is an ongoing challenge in geography. As an art of “movement-image”, according to Deleuze’s theory, could cinema help produce a mobile geography and cartography of borders? This paper explores the cartographic dimensions of cinema and its potential to suggest new maps of cross-border migrations. Frames, shots and montage, as creations of innovative time/space configurations, will be analyzed in two films showing the US/Mexico border: Sin Nombre, written and directed by Cary Fukunaga in 2009 and No Country For Old Men, written and directed by Joe and Ethan Coen in 2007, after Cormac McCarthy’s eponymous novel.