What might be the affinity between the palimpsest of a city space and memory? What happens if the city in question is the eternal city of Jerusalem? The article unravels interactions between the real, physical place and its traces in the symbolic geography of cinema between collective and individual memory as recorded on film. Three films guide this study: Himmo King of Jerusalem (Amos Guttman, 1987, based on Yoram Kaniuk’s novel), The Cemetery Club (Tali Shemesh, 2006), and Jerusalem Cuts (Liran Atzmor, 2008). Each film introduces a different relation into the dialectic between memory and forgetting. All the films’ narrative structures contain the past and revolve around attempts to embody and construe it between the abstract and material qualities of the city of Jerusalem and the cinematic medium.