Cinema continues to push the boundaries of storytelling.
Among the most daring techniques, that of revealing the ending from the first minutes of the film fascinates as much as it intrigues.
This approach, far from being a simple artifice, radically transforms the spectator’s experience.
She invites him on a journey where the destination is known, but where the path remains mysterious and captivating.
Let’s dive into the world of these works that dare to shake up traditional chronology, offering a new perspective on cinematic storytelling.
Prolepsis in cinema: an art of anticipated unveiling
The prolepseknown as flashforwardis a narrative technique which consists of revealing to the viewer a future event in history. Unlike the flashback which takes us back to the past, the prolepsis projects us forward, thus creating a unique narrative tension.
This method, particularly popular in science fiction films, finds its place in other genres such as thriller or drama. It allows directors to play with audience expectations, by creating a temporal puzzle that the viewer must piece together as they watch.
Landmark films that begin with their ending
Several renowned directors have chosen to explore this non-linear narrative, offering works that remain engraved in memories. Here is a selection of iconic films that dared to start at the end:
Memento : time countdown
Directed by Christopher Nolan in 2000, Memento is a true narrative tour de force. The film follows Leonard Shelby (performed by Guy Pearce) in his quest to find his wife’s killer. The particularity? The story is told in reverse.
Nolan uses ingenious color coding to guide the viewer: black and white scenes represent the present, while color ones show the past. This inverted structure immerses the audience in the state of mind of the protagonist, suffering from anterograde amnesia, unable to form new memories.
Citizen Kane : the mystery of Rosebud
Considered one of the pioneers of the use of flashbacks in cinema, Citizen Kane d’Orson Welles (1941) opens with the death of its main character, Charles Foster Kane. His last word, “rosebud,” becomes the central thread of the plot.
Through a series of flashbacks, the film traces Kane’s life, leaving the viewer wondering about the meaning of this enigmatic word. It is only at the very end that the truth is revealed, bringing the narrative full circle in a masterful way.
Fight Club : a fractured identity
David Fincher hits hard with Fight Club (1999), a film that begins almost with its final scene. We discover the narrator (played by Edward Norton) alongside Tyler Durden (Brad Pitt) in a building about to explode.
This striking opening takes on its full meaning when we learn, at the end of the film, that Tyler Durden has only ever existed in the mind of the narrator. This revelation forces the viewer to reconsider the entire film in a new light.
Usual Suspects : the genius of lies
Bryan Singer book with Usual Suspects (1995) a thriller that brilliantly plays with audience expectations. The film opens with the interrogation of Verbal Out (Kevin Spacey), whose story is illustrated by a series of flashbacks.
It is only at the very end that we understand that the mysterious criminal Keyser Söze was before our eyes from the beginning. This final revelation forces a rethinking of every scene in the film, transforming the viewing experience.
Irreversible : reverse chronology
The controversial film Gaspar Noah, Irreversible (2002), pushes the concept of reverse narration to its climax. The work begins with its end credits, rolled backwards, immediately announcing its narrative bias.
On suit Pierre (Vincent Cassel) in his quest for revenge after the rape of his wife Alex (Monica Bellucci). The film’s final scene actually takes place hours before the crime, providing a chilling perspective on the inevitability of events.
Untouchables : an unexpected friendship
In a lighter register, the dramatic comedy Untouchables (2011) d’Eric Toledano et Olivier Nakache opens with a chase scene with the police. This sequence, which precedes the conclusion of the film, takes on its full meaning when we discover the context.
We then understand that the rich quadriplegic Philippe (François Cluzet) is driven by his caregiver Driss (Omar Sy) on a mysterious meeting. This opening in medias res creates an expectation and a curiosity that is maintained throughout the film.
The impact on the viewer experience
Starting a film with its ending is not just a stylistic device. This technique has a profound impact on how the audience perceives and interprets the story:
- Tension narrative accrue : Knowing the ending from the beginning creates a unique form of anticipation. The viewer constantly seeks to understand how we got here.
- Focus on the “how” rather than the “what” : The interest shifts from the outcome of the story to the process that leads to it.
- Constant reinterpretation : Each new piece of information forces the viewer to reconsider what they have seen previously.
- Increased engagement : This non-linear structure requires active participation from the public, who must mentally reconstruct the chronology of events.
The challenges of reverse storytelling
While this narrative technique offers many creative possibilities, it presents considerable challenges for filmmakers:
- Maintain interest : There’s a delicate balance between revealing enough to intrigue, without saying too much to maintain the mystery.
- Narrative coherence : The reverse chronology must remain logical and understandable, which requires particular scriptwriting rigor.
- Management of revelations : Each piece of information must be measured precisely to maximize its emotional and narrative impact.
- Avoid confusion : The director must subtly guide the viewer through this unusual structure without losing them along the way.
The legacy of this narrative technique
The influence of these films that dare to begin with their conclusion is felt well beyond cinema. We find this technique in television series, novels, and even video games. It paved the way for new forms of storytelling, encouraging creators to experiment with the temporal structure of their stories.
This approach has changed the expectations of the public, who are now more open to complex and non-linear narratives. It has contributed to the emergence of a more active spectator, ready to engage intellectually with the work they are viewing.
Towards new narrative frontiers
As we enter an era where the boundaries between media become increasingly blurred, we can expect to see this narrative technique evolve and transform. New technologies, such as virtual reality or interactive storytelling, offer fascinating possibilities for further pushing the limits of non-linear storytelling.
These films that begin with their ending remind us that cinema is an art in constant evolution. They invite us to question our expectations, embrace complexity, and find beauty in the unexpected. By defying conventions, they open the way to new forms of cinematographic expression, promising many more surprises for years to come.
