The article aims to investigate the nature of the narrative fragmentation of images in the dialogue between unchanged screen surfaces, that belong to the trailer and to the film respectively, facing their own fruition contexts and revealing their own reception dynamics. Starting from the cue offered by the analysis of To the wonder (T. Malick, 2012), with regard to the transition between the trailer and the film, the reflection develops around the theoretical nodes offered by the trailer, first as a language then as a promotional medium. At first, it is a montage that presents itself in its dual, equally legitimate narrative and anti-narrative possibility. Subsequently, having in the meantime the film revealed its analogy of forms with the trailer, the analysis managed to highlight the need to consider the dynamics of a consolidated practice that become active once involved in specific fruition contexts.