Figures

0.1	Saving the girl revives the lost past ‘murdered’ by patriarchy, in Cé line et Julie vont en bateau/Celine and Julie Go Boating (Jacques Rivette, 1974).
0.2	Encountering a lost past creates hesitation over history, in El abrazo de la serpiente/Embrace of the Serpent (Ciro Guerra, 2016).
3.1	Encountering earthly pasts, in Loong Boonmee raleuk chat/Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010).
3.2	Enunciating disappeared pasts, both recent and long ago, in Nostalgia de la luz/Nostalgia for the Light (Patricio Guzmá n 2010).
4.1	History hesitates, before it is washed away as by the tides of time, in Como Era Gostoso o Meu Francê s/How Tasty Was My Little Frenchman (Nelson Pereira dos Santos, 1971).
4.2	Having an old friend for dinner, in Como Era Gostoso o Meu Francê s/How Tasty Was My Little Frenchman (Nelson Pereira dos Santos, 1971).
4.3	Colonial modernity – then as now, in Tambié n la lluvia/Even the Rain (Icí ar Bollaí n, 2010).
4.4	The ruins of Costa’s (unthinking) Eurocentrism, in Tambié n la lluvia/Even the Rain (Icí ar Bollaí n, 2010).
4.5	Fleetingly realising that another(’s) history exists, in Tambié n la lluvia/Even the Rain (Icí ar Bollaí n, 2010).
4.6	Ephemeral ethical encounter, in Tambié n la lluvia/Even the Rain (Icí ar Bollaí n, 2010).
5.1	The carnivalesque past gets the Hollywood treatment, in The Act of Killing ( Joshua Oppenheimer, Christine Cynn, Anonymous, 2012).
5.2	Personal/public archive of the (eradicated) past, in Al pie del á rbol blanco/At the Foot of the White Tree (Juan Á lvarez Neme, 2007).
6.1	Tired all the time, in Carancho/Vulture (Pablo Trapero, 2010).
6.2	A leg up the corporate ladder, in Carancho/Vulture (Pablo Trapero, 2010).
6.3	A time to laugh, in Chinjeolhan geumjassi/Lady Vengeance (Cahn-wook Park, 2005).