In the presence of world chaos, H. Bergson conceptualized the existence of real time duration (durée). He firmly established that the duration of real time is always ever-present irrespective of whether it is observed or goes unnoticed. Duration is a real course of life, which never stops, and the creativity and the experience to which it gives rise is only a confirmation of this. The filmmaker A. Tarkovsky proved that his films transcended the structural framework of traditional narrative. Into the rational texture of the story, modern film narratives lay bare the spiritual realm of human situations. The films elicit the enduring existential experience, which does not comply with the clichés of rational thinking. Therefore, not only does the art of film have the capacity to show the chaos of the world, it also lends itself to a religious experience. A. Tarkovsky was among the first filmmakers who sought to capture time at both the theoretical and practical levels. He would compare film to philosophy. He saw real time as a film muse. He studied M. Proust‘s depiction of the philosophical ideas of time so as to understand the relationship between memory and the present moment within the flow of real or continuous time. Finally, A. Tarkovsky became an adherent of H. Bergson‘s ideas. A. Tarkovsky gave priority to time as a non-finite and ever-continuous substance, in which we move, think etc.
Key Words: . films, Tarkovsky, Bergson, art, real time.