Today cinema is a full-fledged art form, which for many of us is no less important than drama 🎭, painting 🎨 or music 🎼. Everything is possible in cinema, this distinguishes it from real, everyday life and related to fantasy, dreams, dreams. It is no coincidence that the film industry is called the “Dream Factory”. In a dream, censorship loses its vigilance, and unconscious desires can manifest themselves in an allegorical form and are hallucinatorily satisfied. This leads to a decrease in tension in a person’s real life, although, it would seem, nothing special happened, and the content of the dream is funny, strange or absurd. If we have a movie, we no longer have to personally practice violence, extreme sports or questionable things even in our fantasies. amorous experiments, the character will do everything for us, we just need to choose a film to our taste. In films we can also see a reflection of universal conflicts and traumatic experiences characteristic of each of us, maintaining a safe distance from them. In modern psychoanalytic theory, there are several approaches to analysis films, which are often combined by critics for a more complete understanding of films: analysis of history, characters, analysis of the film as a reflection of the director’s subjectivity; analysis of audience attitude; analysis of cinema as a means of artistic expression. Of course, a film work can be disassembled “to the bones” or examined from the point of view of symbolism as a picture, but first of all it speaks directly to the unconscious and is perceived at the level of feelings. There are various methods of film therapy that allow you to use films as projective material for the purposes of psychodiagnostics and solving specific therapeutic problems. Like a dream, cinema is continuous; we do not have time to perceive everything that happens in it and snatch out exactly what is relevant for us at the current moment, shamelessly ignoring everything else. Therefore, you can enjoy watching good films again and again. All this inspired my colleague Nadezhda Semikolenenny and me to hold weekly meetings of a psychological film club in Moscow.