Among the tools that accompany man in his ceaseless quest to explore the world, to know himself and discover the meaning of his existence, poetry is the one that is closest to the way human thinking is developing. However, how does a poetic language work, when it is composed by elements other than words, such as the current images of a film? The objective of this essay is to answer this question. A search for the poetic film is attempted, the film that provokes the sentiments more than logic. However, this essay is not a poetic guide, it does not lead to a definition of the tools and the techniques that would make a poetic film. The research is primarily based on the multiplicity of human perception. It begins its quest with the subject giving birth to reality using its personal senses. Therefore, the film, as another perceptual phenomenon, could not be defined as poetic, with the word bearing the same meaning to everyone. The viewer’s eye makes each film unique. The search for poetry among the elements of a film (the image, the included time), leads almost every time to the poetry of observation. The film is an emotional reality, and that is why the viewer receives it as a second reality. The Russian director Andrei Tarkovsky has a major role, raising the questions and inspiring the answers. The movies and the texts of Tarkovsky, two separate entities with often conflicting targets, are, each one with its distinct identity, a key driver for this text.