The cinematic concept of telling a story in reverse order might seem like a creative rejection of the traditional chronological narrative but it is nothing new. Polish filmmaker Jean Epstein experimented with this approach as early as 1927 with the avant-garde short The Three-Sided Mirror (La Glace a trois faces) but in recent years we have seen numerous examples of the reverse narrative in Atom Egoyan’s The Sweet Hereafter (1997), Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004) and two films by Christopher Nolan, Memento (2000) and Tenet (2020). Betrayal (1983), the brilliant screen adaptation of Harold Pinter’s 1978 play, is probably my favorite example of the backward narrative in terms of its cumulative emotional power but Happy End (1967) by Czech filmmaker Oldrich Lipsky might be the funniest and most visually inventive example of this novel gimmick.