The concept of time is integral to James Benning’s films. Here, for the French magazine Cine-Fils, the structural filmmaker discusses the importance of using time to confront, or manipulate, audiences. Benning also touches on the pioneering “flicker films” and their relation to temporality and memory (for a bit of background, read Michael Joshua Rowin’s excellent essay on flicker films for Moving Image Source)—a technique used in several of his own films; most notably Landscape Suicide (1987).