Guy Debord's thought is invariably associated with a certain experience and critique of time. I am attempting to trace the concept of time in his cinematographic legacy and in the creation of his private mythology. In following Janet Harbord's notion of ex-centric cinema which defines a project of potentiality in the realm of experience, I am focusing on this particular kind of cinema that escapes the established forms and the non-lived. My aim is to trace through the method of film archaelogy, the fragments of temporality, and to bring to the surface the concept of time and its manifestation in variable forms in Debord's cinematographic language. Thus, I am exploring the potentiality of the virtual in his cinema.In order to trace the experience of the concept of time in Debord's cinema, I am discussing the discursive formation in two of his films: Critique of Separation (1961) and On The Passage of a Few Persons Through a Rather Unity of Time (1959). Whilst being composed of a variety of documentary footage, of shots of the urban landscape and of tracking shots of photographs, the films are a record of an invisible history that takes place within the city. The diegesis of the film is being formed by the narrator that argues about a micro-society that created a network of interactions within the urban landscape. I am focusing on the voice-over of Debord and particularly on his rhetoric. I am discussing how his language functions in relation to the images thus constructing a montage-palimpsest.