An intersection is a place where different ways meet. This chapter develops at the intersection between different disciplines, times and places. Intersections are related to borderlands, crossroads and junctures, in the way Gloria Anzaldúa had described them, ‘that juncture where the mestiza stands, is where phenomena tend to collide’ (1987: 79). I will argue that intersections are also the places where integrity is debated and exercised. No story, no history, no fi lm, no article can be written without an overt or covert explanation of what that place is. That is why when we come to an intersection we have to look around at the paths that cross and at the lines that collide. In this particular case, the roads are many. At the intersection between fact and fi ction, we fi nd historical fi lm and literature. They are the place where two discourses collide. How do they intersect? Do they meet and mingle, become one like the waters of springs in a new river? Do they part after they meet? We also have the intersection of those paths with the routes of lesbian history, representation and experience, of gender and historical concepts of sexual identity. We follow the path of how decisions are made in invisible corners in the production of such powerful medium as fi lms, which later, as products, have produced once again a labyrinth of roads related to interpretation, psychoanalysis, representation and power. Intersections, fi nally, are located in places. The place in this case becomes another path, the one leading to Galicia, a stateless nation where defi nitions of identity are loaded with meaning. All paths meet there, in the coming together of different peripheries, herstories and fi lm, and in the subject who undertakes the task of acting.