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The relationship between Hindi films and their audience has often been ignored, in particular the importance of imitation and influence. For example, it can be said of a person that he or she acts, speaks or dresses like a filmi. Thus, the Indian filmgoers can be divided into two groups: on the one hand, those who know how to differentiate between fiction and reality and, on the other, those who watch films “automatically” and freely repeat what they have seen on the screen. The author has chosen to examine several cases where, after the screening, he puts the film and its public to the test. This can take various forms: there are tests for contagion, resemblance, vigour, viability and closeness to truth. These tests offer many ways of enriching and “re-setting the time element” in the cinematographic relationship: between the projection and the conversation, between the conversation and the imitation/reproduction (which we know will never be exactly “identical”), confirming a cognitive connivance is only due to one’s intimate relationship with the screen. Changing the timeframe is also, to a certain extent, a way of changing one’s relationship with the cinema and its multiplicity of reproducible objects.