Speaking about the relationship between cinema and time, Peter Mettler describes it as being paradoxical: an attempt to grasp the present that soon turns into the past for future viewers. The End of Time certainly does not escape this crossroads. Peripatetic inquiry into our perception of time, the film, which begins with archival footage of Joseph Kittinger's famous free-falling jump in 1960, makes us privileged observers of the continual transformation to which all things are subject. It lingers in the slow spectacle of a lava spill in Hawaii and the funeral pyre that consumes a man's body in India. The meaning of all this is quite ambiguous; I venture, however, the hypothesis that to the "end of time" we can propose instead cinema as memory. (Catarina Maia)