The representation of space in the Tarkovsky movie stills is subordinated to the poetic intent of imagery. In respect of the recognized artistic tendency of the Tarkovsky movie stills to establish an exhaustive representation of the truth of human existence and incorporate it in the image of architecture, this research tackles two problems: 1) investigating disciplinary procedures respectively by designing an intellectual framework in which art can relate to architecture, and 2) examining how his films reflect beyond traditional modes of visual thinking about spatial production. By analyzing the way of associating mental images, the first impression is that Tarkovsky’s films present the space of illusion, as an exquisite artistic act. What testify this idea is a frequently present diffusion of forms, color and tonal equilibrium, which is reflected in the abstraction of the image serving to awake the illusion of reality and invoke a delicacy of the required impression of truth. However, Tarkovsky sought the exhaustive truth of human existence behind the visual elements of the image, in the observation of the works of art composed of living images stored in our memory, whose parts require their true meaning in relation to the whole. On the other hand, the tendency of connecting film with architecture is irrevocably present in each film frame. Taking this tendency as the dominant source of his imagery, we can offer another interpretation of the architecture in Tarkovsky’s movie stills. Regarding the fact that they are more than an illustration of spatial thinking, we can hypothesize that they reflect a progress of disciplinary exchange (art-architecture) by focusing the discussion on their modes of creativity rather than representation. I will conclude by demonstrating that this line of thought of Tarkovsky’s architecture can testify a shift from ontological to the epistemological differences between art and architecture.