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That Shakespeare’s works have often provided adaptations for the screen does not prove that by nature they foreshadow the art of film, since most novelists and many dramatists have undergone the same treatment. Yet one may wonder why some of his plays have become real films. This may be due to some of their technical and artistic features. Indeed these plays constitute concatenations of sequences, organized by devices akin to montage. Space and time are handled in a way which seems already cinematographic. Movement is essential to Shakespeare’s dramaturgy. The presence of animals, of all kinds of objects, the importance of the environment, of materiality and violence, seem to call for cinematographic instruments. So far comedy seems less congenial to the screen than tragedies or histories, but Shakespeare’s cinematographic career has not come to an end.