Abstract <p>The article explores the specifics of poetic text integration into the auteur film discourse. As a starting point of the research, it analyzes the multidimensional nature of the interaction between cinema and poetry in modern artistic culture. An approach to understanding the auteur cinematography through the prism of the concept of “poetic” is considered. Intermediality and interdiscursivity are described, on the one hand, as properties reflecting the ontological essence of cinema as such, and on the other hand, as “tools” for the formation of the original style and aesthetics of the filmmaker. Two films are selected as a source of material—<i>Stalker</i> by A.A. Tarkovsky and <i>Ugly Swans</i> by K.S. Lopushansky. They are characterized by the continuity and innovative nature. To conduct the research, a comprehensive methodology is used, including the method of parameterization of linguistic creativity, the method of corpus annotation, and the method of conceptual analysis of verbal and nonverbal means that construct the poetics of films; research data processing is carried out. The study reveals similarities and differences in the approaches of the two filmmakers to the work with poetic material. According to research findings, the integration of poetic texts into films is a “mechanism” of a special psycho-emotional adjustment of the moviegoer to the reception of the ideological concept of the filmmaker.</p>