Experience of time in cinema is a paradox. Cinema as a time art makes temporal transcendence. Film as a kind of Nietzsche’s eternal return determines subjective experience of time. According to A. Pawełczyńska it is possible to indicate three essential ways of understanding of time in cinema: substantialist, attributive and subjective. Deleuze’s theory of time in cinema represents subjective approach. According to Bergson time is creation therefore cinema must be based on a transcendence of time.