This essay examines Alain Resnais's Hiroshima mon amour (1959) through a progressive theoretical tetrad—Sigmund Freud, Marcel Proust, Henri Bergson, Jacques Lacan—to reveal the film as cinematic sinthome, where Nevers abjection and Hiroshima trauma endure beyond psychoanalytic discharge, sensory revival, temporal multiplication, or symbolic resolution. Freud's hydraulic model diagnoses the talking cure's melancholic paradox, hand-twitch erupting as return of the repressed yet damming memory's flux. Proust's mémoire involontaire ruptures this stasis, ash-sweat synesthesia flooding virtual pasts with Combray-density. Bergson's durée ontologizes the eruption, parallel montage stacking time-sheets as watch straps knot histories in élan vital. Lacan reconfigures the flux as Real-Symbolic-Imaginary topology, stereoscopic voiceover suturing Real's lamelle without closure. Close analysis of hotel dialogue, bar slap, and Nevers promenade positions Resnais's montage as prosthetic mémoire-cinéma, developing latent durations against historical amnesia. The framework critiques trauma theory's event-fixation, prefiguring Gilles Deleuze's time-image while affirming cinema's ethical yield: viewer inhabitation of Borromean rupture, where personal and collective pasts interpenetrate sans mastery.