In Latin America in the 1960s, after the Cuban Revolution, literary circles sought to find their identity, and "magical realism" boomed. The flow of time with fantasy or magic became entangled, with the narrative and structure of this maze type a unique expressive technique of magical realism. This refers to a characteristic by which only certain part of everyday reality moves naturally to a fantastic world so that readers do not feel discomfort. Magical realism, which dismantles and rebuilds traditional realism, transcends the world of consciousness and unconsciousness by following laws different from those of ordinary expressionism. This magical realism technique creates richer and more dynamic cinematic expressions in the text of a movie. In this article, I attempt to trace the flow of 'magical realism' as the source of imagination, narrative and mise-en-scène using ‘Birdman’ (Alejandro González Iñárritu, 2014) and ‘About Time’ (Richard Curtis, 2013). Hence, the openness and extensibility of magical realism become more evident in the storytelling of the film, and the visual image through mise-en-scène beyond the text reveals the directors' intentions more clearly. Furthermore, the use of magical realism shows that in each case the director's visual handwriting is capable of more immediate and detailed expression and communication. Noteworthy is that the original concept of time, in this case conceptualized as the 'branch of time' expressed by magical realism, is widely reflected in modern ‘time travel’ movies. Time travel films contain the notion of branching or splitting, where the past, present and future are tangled and/or where time is broken. This reflects the inner world of Latin American writers who have been oppressed under cultural colonialism and who have dreamed of the reality and denial of time and space. In particular, the concept of time according to Borges, a master of magical realism, can be found in the modern contexts created by Gilles Deleuze and Sophia Psarra.