This essay interrogates the relation between psychoanalysis, detection and testimony, arguing that psychoanalysis can help us envision the time of testimony as the time of creative repetition - what will be called, following Jacques Lacan, remembrance in the future anterior - only after it critically engages its own relationship to the trial and the model of juridical witnessing to which all witnessing is often assimilated. The essay also shows that such a possibility for memory exceeds the private sphere of psychoanalysis and can fully inhabit the social and aesthetic domain of film.