This article adopts a comparative Freudian and Lacanian approach to better understand how Maybe Some Other Time explores Kian‘s psychological repression, her mirror stage, and her formation of identity in relation to the symbolic order, as well as Modabber‘s masculinity, male jealousy, vulnerability, and fear of castration. The article briefly explores Gilles Deleuze’s notion of the camera eye and then proceeds to explore the intricate connection between archives, the unconscious, and identity in the film.