Through a corpus assembled under the name of the Hungarian Post-communist Black Series, this paper aims to reconsider the proposals of Nouvelle Histoire historians as well as the time stratums of R. Koselleck, regarding the articulation of different time sets when constructing film history. How can film historians build a proper time structure involving economic and political memory, the evolution of the Hungarian film production system and the multiple times a film may recall? This reflection was made in order to understand such a chain of events as 1988–1990, and to offer new ways of considering the problem of an event’s status in its relation to films and the form of memory they present.