Doppia memoria e regimi temporali ne «La Passeggera» (1963) di Andrzej Munk

This essay​ ​will analy​z​e​ ​the relationship between the cinematic representation ​​of​ ​the memory and the photographic steadiness of the present, staged in the film The Passenger (Pasażerka, 1963, Andrzej Munk). Moving​ ​both from a textual and a contextual point of view, this article will​ ​focus on the posthumous film​ ​reconstruction made by Munk's collaborators. Therefore, the aim of this paper is to discuss the​ ​relationship between time and death, past and present, but also victim and​ ​perpetrator, which all contribute to create an implicit wistful feeling of historical suspension, which creates​ ​a «double memory» storytelling.