Every film has a defined theoretical entry

The vase still life intervenes between the daughter’s smile and tears, placing change within time’s unchanging form.

Ruins exceed the reach of reparative action. The child becomes a seer before the intolerable, and the action-chain collapses from within.

In the factory, the protagonist encounters an optical situation too strong for habitual ethics of action.

The volcano’s beauty and pain exceed any executable response, turning the protagonist from agent into a seer struck by a limit situation.

The disappearance escapes the logic of a solvable mystery; islands, architecture, and bodily attitudes give duration to the void within relations.

Witnesses search different sheets of the past for Kane; a complete truth remains unactualized.

In the hall of mirrors, bodies, doubles, deception, and destruction reflect one another, dissolving stable ontological priority and forming a crystal.

Bifocal structure: Robbe-Grillet organizes incompatible peaks of the present, while Resnais places characters in coexisting sheets of the past.

Private memory and historical catastrophe remain incommensurable; sound and image place both experiences within one interval, making forgetting temporal structure.

The time machine throws the protagonist among repeatedly contracting sheets of the past; the former present remains irretrievable.

Each expert, forger, director, and narrator passes the tribunal to another. The question becomes whose power can create.

Reality, memory, fantasy, rehearsal, and the film project crystallize together; the unfinished work is both seed and environment absorbing life.

Artistic ideal, aristocratic world, and decaying body are caught in a crystal of too late; preservation simultaneously reveals decomposition from within.

The visitor’s arrival distributes consequences like a theorem, yet his departure leaves an unsolved problem. Bodies, desert, and scream force thought toward an outside.

Tableaux vivants, factory labour, and failed production remain unresolved. The film turns theorem into problem and relinks bodies, images, and sounds across intervals.

Voices separate from visible bodies, while image and sound form autonomous series that meet at the edge of an absent event.

Space becomes a topology of the brain; HAL and humans mirror one another across automatism, choice, and thought’s impotence.

The maid’s small morning tasks receive their full duration. Seeing, waiting, and fatigue give everyday life optical density of its own.

After characters and rendezvous withdraw from the ending, places, objects, wind, and city noise persist. Time appears independently of relational action.

The exchanged identity dissolves a masterful subjective centre; relations between camera and character perception unsettle the objective/subjective divide.

Hands, pockets, wallets, and relays connect a space that can never be surveyed as a whole. Tactile relations replace mastery through complete action-space.

The camera withdraws to hold the figure, then advances into a corridor that now belongs to her home. False continuity detaches space from action’s coordinates.

The father’s tears after the wedding remain within the everyday; death, separation, and grief flow through the same temporal series.

Words, colours, bodies, songs, and quotations form multiple series. Thought is forced in the intervals between them.

The recollection circuit in the sealed room organizes the past as destiny. Here flashback remains a recollection-image; direct time requires a deeper temporal structure.

Multiple recollections return to conditional points where time might have taken another course, exposing its forks.

The absent woman’s voice hangs over three marriages at once. Its displaced source and three possible consequences make time fork around one threat.

Sets, colour, and ensemble movement carry the whole world into motion, forming an implied dream through the musical.

Street, rain, props, and studio become a world capable of moving through the musical itself.

Glass, reflections, machine noise, and distant actions disperse the comic centre. Sonic gags gain effects independent of visible action.

The circus present rolls a series of virtual pasts inside itself. Flashback becomes a route through the crystal; actual/virtual exchange is the criterion.

Theatre and life, masters and servants, roles and reality nest within one another while retaining a fissure through which escape remains possible: the cracked crystal.

Deleuze explicitly calls it a turning crystal: mother and wife, childhood and present, memory and perception exchange actual and virtual positions.

Memory acquires an actual body on Solaris, forming a circuit with the virtual past. Evidence: a brief adjacent example in Cinema 2.

Differences among repeated scenes exceed a single true version. Each present holds in its own right, forming inexplicable peaks of the present.

Each telling transforms narrator, characters, and world. Falsification becomes a power of becoming.

The meal repeatedly restarts through dream, performance, or interruption. Present versions replace one another with no final hierarchy. Evidence: a brief example in Cinema 2.

The Algerian War past remains fragmentary as short montage, rooms, and speech continually transform it across different sheets.

Participants narrate and perform their journey after the fact, making filmmakers and characters become other through the story.

Borrowed names, post-recorded voices, and lived experience rewrite one another. Fiction opens minor speech and collective enunciation.

Reviving the beluga hunt is both action and storytelling. Filming reorganizes communal memory and produces collective utterances that prefigure a people to come.

Choice exceeds calculable consequences and becomes a mode of existence. Bodily attitudes and disconnected planar relations let belief replace knowledge.

Laughter, fatigue, drunkenness, and suddenly frozen faces unsettle stable psychology. The linkage of bodily attitudes directly reveals time wearing relations down.

Hesitation, excess, and waiting exceed family norms and retain their own bodily time. Evidence: a brief mention in Cinema 2.

Cooking, cleaning, waiting, and counting appear in their full duration. Minute disorder first develops in body and ceremony.

Hotel, maze, corridor, and repetition form a world-brain circuit in which inside and outside, perception and hallucination, remain indiscernible; the spatial series itself becomes the machine of terror.

Popular myth, trance, violence, and shifting allegiance reveal a missing people and the task of creating them.

Present land and invisible class struggle form strata while sound and visual image retain their boundaries.

Mythic text, postwar resistance, and filmed land form distinct strata. Speech acts awaken the image’s historical pressure across irrational cuts.

Archive, puppet, performance, recording, and myth remain stratified. The information machine itself becomes the spiritual automaton under critique.

Katherine is struck by unfolding landscapes and visual clichés, discovering something beyond what she can personally bear. She no longer resolves what she sees through action but becomes a seer.

The Zone refuses to become a transparent environment, returning the milieu to indeterminate opacity and the seed to the morbidity of something aborting. Rain and wet matter stage a hesitant search between material and spiritual.

The ball is not the aristocratic world's last ornament but a crystal already decomposing within history. The Prince hears the ‘too late’ spreading across Sicily, so preservation and decay occupy the same image.

The dead, cataleptic woman becomes thought itself. Only when Johannes ceases to believe himself another world does he understand how belief restores life and love to this world.

Anna's narration, letters, and the son's account form free indirect discourse. Live performance lets music acquire a resistant force independent of score and biographical explanation.

Sheets of past remain recallable, but a present transformed by city and automobile makes recollection-images useless for action. Family history can no longer re-enter the present.

Two atemporal voices and the visible image each form autonomous series. The irrational cut preserves their boundaries so sound and image meet only at their limits.

The house ceases to contain action. Desire unfolds through speech while perception extends among empty rooms, bodies, and objects; what Deleuze calls a class of violence circulates between sound-image and visual image.

Sound acquires the reader's body while the visual is emptied into an unoccupied cab, roads, and a phantom lorry. As the lorry moves toward the sea, terrestrial movement enters Duras's oceanic perception.

The soundtrack of India Song is placed over a different field of ruins. Names remain in an earlier stratum of memory while the ruins belong to another present; sound and image do not coincide on-screen and approach one another only at their limits.

Abandoned rooms become a phantom ship moving toward the beach. Visual space and sonic memory unfold time separately, while limitless reading enters an oceanic perception deeper than particular things.

House and park are reduced to an almost motionless visual stratum, while relations are produced mainly by speech, pauses, and unseen events. The film establishes the structural point from which Duras later separates sound and vision more radically.

Palestinian images and French domestic images are not unified by analogy. The between first breaks the received chain, then lets difference itself organize a new political relation.

The opening low angle starts Josef K.'s search for an accusation. Women, books, childhood, art, and religion become adjacent sheets of past. The trial has no terminus; a changing series of falsifiers keeps it in motion.

Mr Clay stages a legend as reality, making the film both the legend's mirror and the seed from which it germinates again. Once enacted, the story escapes its arranger and returns to the sea and to another telling.

Death supplies a fixed point around which jealousy, testimony, deceit, and memory coexist non-chronologically; Iago turns truth-seeking and judgement into a changing series of falsifiers. Montage organizes both sheets of past and relations of force.

The professor is surrounded by artworks, yet his knowledge of art separates him from life and creation. The family entering his apartment decomposes the artificial crystal from within, and his sensuous revelation through the young man arrives too late.

Palaces, opera, and aristocratic bodies compose an artificial crystal cut off from nature and history. Corruption spreads through desire, bodies, and architecture while war and Prussian power approach off-screen; too late becomes the film's temporal rhythm.

Alexis and Perrault become intercessors for one another through the journey to France. The search does not restore a fixed origin; character, filmmaker, and Québec's collective voice change together through storytelling.

Human action leaves the centre; waves, driftwood, moonlight, frogs, and rain become temporal events that must be watched and heard.

The reflected double continually transforms the actual body and identity in return.

Documentary performance training and fictional roles alternate between clarity and opacity; identity shifts continuously through performance.

A theatrical seed crystallizes an urban environment until the duplicate world absorbs reality; local and total continually produce one another.

The dead, the living, animals, and former lives unfold incompatible times on the same perceptual plane.

The single take turns the Hermitage into traversable sheets of the past, carrying history beyond a linear present.

Actors and workers share the form of testimony; the narrative series reproduces the boundary between truth and falsity.

Six bodies generate multiple Dylans through heterogeneous attitudes, voices, and bodily surfaces.

Dictionary, blackboard, command, attitude, and rank assemble bodies into institutional ritual; gestus is a configuration of social relations.

Black stage, white lines, and invisible doors turn setting into a map of thought and reveal space as a relational machine.

City, memory, body, and possible futures interweave; viewing proceeds by reading relations among image strata.

Participants answer, perform, and reorganize their experience, then watch the film together and criticize their screen images. Identity moves among lived position, filmed role, and collective discussion, turning the camera from an investigative tool into a participant in the event.

Montage, intertitles, pauses, and discussion organize projection as political action. Because the film presupposes a revolutionary people available to be addressed, it becomes a decisive comparison for testing the boundary of Deleuze's claim that the people are missing.

Isolated figures question Québec belonging from different positions, turning country into a problem no single representative can close. Disagreement, relay, and transformation form collective utterances directed toward a people to come.

Corridors, music, rehearsal, and repetition let an unrealized relation persist virtually. Evidence: contemporary analytical proposition.

Identity, performance, and memory rewrite one another. Criterion: an actual/virtual circuit.

The film’s rupture produces a new perceptual regime among love, legend, human-animal becoming, and forest, testing the postwar European model in return.

The repeatedly failing night search lets landscape, waiting, corpse, and ordinary labour form a spectral temporality of death, explicitly argued in the 2025 special issue.

Re-enactment, archive, and absent bodies suspend genocidal time; this is a contemporary time-/death-image analysis advanced by the 2025 issue.

Theatre space, spectral spectators, waiting, and cinematic memory deprive action of its object; this relation provides the time-image criterion.

Criterion: the Dangmai sequence lets search, past, future premonition, and spatial traversal coexist within one present.

Criterion: whether dream repairs action or opens an indiscernible actual/virtual circuit.

Demolition space, broken relations, and sudden unreal objects remove the coordinates of action; local history provides the analysis’s core scale.