That sounds like the kind of impossible dream that makes a good first take, but the real trick is that rewinding in the lab is a straight line and in the frame is a broken line—so you either have to fake it with editing or actually get the light to flip back, which is like trying to get a camera to walk back to the moment it was shot. I’d probably start with a glitchy surface that splits the frames, then let the footage just spiral out of control—so the “reversal” is a visual fracture, not a clean rewind. It’s all about letting the story bleed into its own past.