The article examines the expressive power of the centripetal model of the film’s artistic space. Its most important feature is the opposition of the external and the internal, the relevant and the irrelevant. In the core of the film’s artistic space the main values of the story gain relevance, putting into focus the aim of its creation.The temporal picture on the periphery and in the center of the film may differ widely, and this goes for the historical time as well. In commercial films the methodic time is driven out of the spatial core, reduced to the time of a single event, in extreme case a chance one.Auteur cinema, on the contrary, by way of centripetal space models tends to drag out the historical time transforming it into the time of myth. In the works of major contemporary filmmakers history develops as "a soul’s adventure" (F. Braudel).As to the centripetal space itself, it appears to be complex, arranged as a onechamber labyrinth, eventually multidimensional.The article provides a spatial and temporal analysis of films embracing historical time and basing on the centripetal model of space: “I Also Want It” by Alexei Balabanov, “Django Unchained” by Quentin Tarantino, “Mulholland Drive” and “Inland Empire” by David Lynch.