in Film modernism
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There is no single narrative to films by Bernardo Bertolucci, none that follow (or trace) a progressive, chronological line. For the most part, his films begin in a present already past or a past yet to be, but in dissolution, a future or a present becoming past, and becoming the past instantly, as each time is made apparent, and apparent at the same time. Each and every time contains other times, the multiplicities of time.

The line between different times is difficult to separate. Borders tend to blur. There are no simple flashbacks nor flash forwards, not an exact before nor a precise after that is not contaminated by a time alongside it or one that overtakes it until time itself is called into question. The interrogative is a function not a subject. All Bertolucci’s films are questions and the questions are its future.


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