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In the field of research in the psychology of creation, the author proposes to consider the cinematographic experience as a self-reflexive movement of human art that stretches the most realist currents of pictorial art. Based on the description of the origins of the cinematograph and the analysis of three films— Being John Malkovich, Le mystère Picasso, and Fados—, the author explores the paradoxicality implied in the reflexive process of a man understanding himself through a scripted experience of recording and deferred vision. He demonstrates that the technical device of cinematographic art becomes its own blind spot and that it must turn to other arts in order to evolve from a fantasy of realist and holistic understanding of the human identity to a self-subjective experience full of depth and truth.