The aim of this article is to demonstrate (on the examples of G. Gorin and M. Zaharov’s films) how the using of parabola in the script contributes the theatricality of cinematic language and what the intermedial potential of this genre is. At first sight a parabola has the stable and heavily adapted for the synthesis form, however it appears to have the inclination for drama and theatre, providing them with new meanings and letting implement these meanings on the level of dialogs, characters and staging.