The purpose of this article is to analyze the texts of Viktor Freiberg’s two books using a phenomenological approach – paying special attention to the fragmentation of the text – ruptures and overlays, i.e. saturated pauses. A moment between, an inter-moment, a pause, an empty time in which traces of what was said before remain and which contain the seeds of the next text. The theoretical framework of the article consists of Edmund Husserl’s theory of inner time consciousness, William James’s stream of consciousness, Gilles Deleuze’s cinema phenomenology, and Marco Bellardi’s cinematic narrative theory. Husserl describes the transition or pause as a special moment of the present, a duration in which the past, present and future meet. To describe the temporal structure of consciousness, he uses concepts such as initial impression, retention and protention. In the characterization of the stream of consciousness by James, special attention is paid to the retrospective and prospective aspects of consciousness, the collision of which results in the “specious present” or the saturated pause (a moment in-between). The focus of the 2nd part of Deleuze’s work “Cinema” is the portrayal of time in cinema as duration, which is ensured by the subjective perception of the viewer. Bellardi studies intermediality, the use of cinematic methods in literature, or the cinematic narrative. Freibergs applies the techniques of cinematic narrative in his books – pauses, montage, the visuality of the texts (scenery), the author’s ironic presence in the text, etc. If the pauses in the “Medical history of cinema addict” are filled with autobiographical reminiscences/allusions, then in “Viktor’s second book” – the photographs by Agnese Zeltiņa, which break the text into fragments. The author himself also recognizes the importance of the pause in the non-chronological nature of his texts – they are like an imaginary movie without opening and closing credits, where the movie is formed in the consciousness of the reader/viewer.