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Abstract: The article is devoted to the actual problems in a modern scientific discourse, connected with the ways of cinematic interpretations of literary works. The subject of our research is a screen version of A. S. Pushkin's novel «Eugene Onegin» directed by M. Fines («Onegin», 1999). The review of the main claims on the film, which we can see in the comments of the audience and critics, shows us that the great number of reproaches is not reasonable, because they contradict the inner artistic logic of the film and principles of Pushkin's poetic manner. One of the main principles of the poetics of the film and its literary origin is the principle of reflective-dialogical and imaginary-notional mutual reflections, the analysis of which determines the novelty of the approach given in the article. The author of the article concludes that images of the film are images of Russian consciousness and culture, as they are observed from the outside, from the spheres of consciousness of European and World culture. The image-bearing and semantic space of the film is deeply dialogized and reflexive, it demands from a viewer the ability to be a full-fledged participant in this dialogue and not to remain within its own facilities.