Abstract: This article studies the film adaptation of the passage from the diary of the Goncourts and the letter of Gilberte, two examples of Proustian short narratives. The study of strategies of cinematographic insertion of these narratives in, on the one hand, Le Temps retrouvé (Raul Ruiz) and, on the other, La Captive (Chantal Akerman) shows that while the Proustian short narrative is preserved in narrative film, in the process of adaptation, the short narrative takes on a very precise role.
