‘Last Hours of Ancient Sunlight’ encapsulates how ancient mythology foreshadows and shapes modern society. A frieze of Roman marble serves as the inspiration for a staged play: a choreographed sequence involving five actors. The film stages the collision of ancient myth and modern dance through a split screen. One side of the screen slowly roves over a Roman frieze depicting the myth of Medea, while running parallel on the adjacent side, actors perform an avant-garde-inspired dance, directly responding to the gestures and actions depicted in the frieze. These simultaneous streams of film create a synchronicity between past and present, overlapping different temporalities and causing them to converge. As they mingle, move, and merge, the bodies of the actors become conduits through which myth and history are viscerally articulated in the present. Current interpretations of the past and past projections of the future intermingle, reconfiguring each other. Caught within each other’s mutually looping gravitational pull, they become inflected with the influence of the other. ‘Last Hours of Ancient Sunlight’ thus fractures the traditional linearity of history and film, allowing new connections and narratives to emerge. The collusion between the bound identities of film and fictionalized history reinforces the artificial space of cinema, amplifying the self-reflexive construction and disruptive chronology of structural filmmaking.