The relationship between time and our surroundings has long been one of the most controversial topics in our lives. The significance of this will increase if we consider it a basic part of a medium like cinema, as it directly impacts how viewers perceive and respond to films. The researcher first explains the time factor in cinema and then especially focuses on the time in slow cinema. The research explains different types of time in slow cinema and mentions some film samples to help readers understand the content more precisely. The research is renowned because the researcher concentrates on the most complex matter in cinema: time patterns in films. The subject becomes more important when someone wants to point to some characteristics that distinguish cinema from other art forms. Time is the most crucial factor that signifies this art. It proclaims and separates the cinema from other similar arts, such as painting and photography. Both of these arts are known as the static arts; we don’t see any motion in paintings or photos, but moving images in the cinema always have motion, and this is because of the time passing through the image. Cinema explores various types of time. Some of them are as follows: dead time, no time, collapsing time, fluid time, emotional time, lock time, and crystalline time; the last case is the most important one in this research that refers to the relation between subjectivity and objectivity in the film world. Gilles Deleuze, a prominent philosopher of cinema, proposes a time pattern. He mentions four crystalline patterns: full crystal, cracked crystal, soapy crystal, and shattered crystal. The type or form of the crystal depends on the balance between objectivity and subjectivity. Among these forms, the most recent and significant is the one that best reflects our reality, where our subjective experiences coexist with the external world. This duality also applies to the films created by artists.