Cinema is an altogether different medium of artistic expression from literature. Its power of capturing the present has complicated the concept of memory and postmemory. The experience of a geo-political event like partition passes from one generation to another through memory. But what happens when the first-hand experience of partition is captured in a cinematic work? This essay will engage with this complex phenomenon of Indian history reflected in Nemai Ghosh’s Chinnamul (The Uprooted) and Ritwik Ghatak’s Meghe Dhaka Tara (The Cloud-Capped Star). In addition, I shall emphasise how Ghosh and Ghatak use the technique of telling and re-telling stories to recreate the partition memory in a more complex manner. However, in bringing these two works together, this article will discuss the idea of prosthetic memory and trauma related to the Bengal partition.