Film narration entails certain taboos and restrictions, including the obvious ones that are tied to story development from its set-up to rising action, climax, falling action, and resolution, and to the necessity to keep a spectator immersed in a film’s action. Despite the fact that “action is the fundamental narrative element” (Chatman 1975: 213), the cinematic story occasionally “holds its breath” (B. Eichenbaum) and as if takes a pause. Films may contain digressions that slow down the plot development. These cinematic lacunae are not ellipses, however, the lack they create in film narration inform the audience that a communication is intended and trigger the mental process of filling blanks, lacunae, and indeterminacies.
What cognitive mechanisms underlie the capacity to fill the gap with a satisfying interpretation? Where do we look while filling the gap or going through an episode in which a character passes from one place to another without the movement contributing much to plot development? What do we pay attention to and what do we ignore? Does the film really “hold its breath”? What does eye tracking tell us about watching cinematic lacunae? What is the meaning of ‘ligature’ episodes, besides being a means to keep coherence? The paper explores the narrative gaps and cinematic lacunae when film narrative balances on the verge of its existence. In the focus of attention are experimental film narratives by Andrei Tarkovsky, Alexei Balabanov, and Alexander Sokurov.