An important structural element on La Jette’s narrative is the dialogue: ‘Later, he new he had seen a man die.’
This use of the word ‘later’ is a promise to the audience to deliver the significance of the event. At this point the audience has become absorbed into the dreamlike world of the main character and now awaits an emergence into conscious reality – an explanation. Being a mediation on time, memory and the present moment this emergence into conscious reality is always deconstructed, or underscored, by an uncertainty. Images and perceptions of the present moment cannot be trusted. Hence why the subjects upon whom time travel is imposed are all driven mad.
Somewhere in the thesis of this film lies the notion that the wounds of history, the apparent real-ness of history, exists for us only via our memory and only via our interpretation of the events that surround us in the present moment. We are hermeneutically hemmed in. This is another viewpoint from which to understand the source of madness for the test-subjects – when this compass – this structure of memories that keeps us orientated in the present – is ruptured and fragmented across the totality of time. Our ability to stabilise ourselves in the present is shattered and any sense of the empirical world starts to dissolve.