When time is released from the rigid structure of linear progression, events no longer follow one another, and effects no longer stem from causes. The clarity of occurrences gives way to a play of possibilities. This idea characterizes the thinking of Henri Bergson and Gilles Deleuze, as well as the filmmaking of David Lynch. Kerstin Volland illustrates the theory, method, and research approach of film analysis using this line of thought as an example. From a media education perspective, she demonstrates how time in film reveals itself solely through subjective experience.