Stephen Daldry`s The Hours (2002) is an adaptation of Michael Cunningham`s The Hours: The Novel (1998), which recreates Virginia Woolf`s Mrs. Dalloway (1925). In Daldry`s film, as in Cunningham`s novel, Woolf herself appears as a character, and we are introduced to different versions of Clarissa Dalloway in different periods. In this unique postmodern text, the characters resemble one another, each becoming someone else`s reference. In a way, all of them are trapped in time―either the present or the past―and cannot move on with their lives. Virginia, a writer in the 1920s UK, suffers from depression surrounded by the stifling patriarchal medical authority; Laura, a lesbian housewife living in LA in the 1950s, feels suffocated in her heterosexual marriage; Clarissa, a lesbian book editor in 2000s New York, is still caught up in the memory of her unfulfilled love of a long time ago. This paper discusses how the film narrativizes and visualizes the characters` feelings of confinement not only through the unique storyline and characterization but also through specific film techniques. It also analyzes how the characters` acts of creation such as cooking or writing are portrayed as important methods of enduring and escaping time.