Abstract: The immobilization of the image in a film refers to a bifurcation of the temporalities, which the reference to the paintings, and the living paintins, enriches. It installs an apparent symmetry with the notion of a preying moment that pulls the painting towards a narrative time. But in what order is this moment that arises when the flow of images stops? Starting from History of Judas by R. Ameur Zaïmeche, we will question the « duration » of an image that no longer has any.
