So, the aspiration is an ontological habor taken the form of a female, tamed, giving timelessly unconditional trust and intimacy just like the animals stored in the museum. 'He understood there is no way to escape time', or to say, there is no way to escape modernity into unadulterated, childish sphere of domesticity and intimacy. Since the childhood, the death of escaped prisoner has been a haunting nightmare of ours.

1962年的科幻短片，几乎全部以照片的方式一幅幅配着旁白讲述故事，第三次世界大战带给人类了灭顶之灾，遁入地下的幸存者用战俘做时间旅行实验找寻存活办法，大量灰白高曝光的影像结合犹如呢喃的人声笼罩成萧瑟绝望的梦境，时空交错中的虚构的摄片以及女主美丽温柔的影像（包括一段短暂的摄影）与现实中昏暗绝望的相对比，呈现一种对爱与和平美好的本能向往，而最后一次时间旅行中成为了见证了记忆中自己的死亡给后世的科幻影片以极大的启发。

末日中，你会选择跨越时间的维度成为宇宙中的一粒光子，还是会回到旧日感受一点人性的温存？
神奇的是，这是一部静止的电影，全片用一帧一帧静止的黑白画面讲述了一个貌似与科幻无关的故事。旁白和音效巧妙地将这些画面串联起来，给了它独特的韵律和诗意。我们随着男人的注视而悲伤，随着男人的皱眉而痛苦，在心中重设他的选择。而在时间的跳跃中，存在本身被割裂了
"我在没有时间的国度里遇见了你，我们漫步，唯一的感觉是墙上斑驳的记号”
关键词：实验电影、法国、新浪潮、黑白、短片、超现实主义、静态

From a philosophical point of view, La Jetee is an existentialist tale of doomed existence, inevitability, and predetermined death. And what better way to express this idea than by using lifeless photographs to tell the story of a life that is only perceived as such? If the main character is trapped in a time loop and sees his death as a child, what reasons does he have to believe he has actually existed?
Lasting 29 minutes, shot in black and white and consisting almost entirely of still photographs – imaginatively blended with dissolves, wipes and fades – this is the bare bones of science fiction. It highlights why we are attracted to SF in the first place: not for bug-eyed aliens or galaxy-hopping spaceships, but for the way in which the form can twist our most cherished versions of reality inside out.

短短的半个小时不到，却很能体现生命的凝固。
因为是被试验者回到过去，所以一切只是一张张幻灯片啊图片吗，没有具体活的视频。回到过去，他看到了心爱的女人。说几句他就立刻消失。
“他们没有记忆，没有计划，时间自我成行，弥散在他们的周围，他们唯一的里程碑就是此刻的感触和在墙上留下的印记。”
当一切动物都成了标本。
时间和命运的轮回，小时候的他看到一个男人死去，现在他被送回儿时，而自己就是死去的那个男人。
对战争死后没有太大的谴责。

《堤》关于图像的意识
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