Relationship dynamics of a character and his action space isessential to the plot. Consider the case when a character becomes part of highsociety that is a space of everlasting holiday, of subtle delight, witty talks andfancy entertainments. Most likely this character will face death. Film makersdeveloping that kind of plot seem to anticipate the final collision by chargingthe film space with various omens. Why? What conflicts is the dazzling worldof wealth and leisure fraught with? The study answers that, introducing theconcept of “the space of leisure” meaning by leisure an ostentatious waste oftime. This definition largely corresponds to Thorstein Veblen’s theory of theleisure class. The ostentation of time wasting gives their existence in the spaceof leisure the tone of a never ending show blurring the line between the true-lifeand the semblant. This contradiction is resolved by strict necessity to follow therules of the game.The study proves that the space of leisure is a confined playing area withinviolate rules of the game. Introducing in it a spielbrecher (Huizinga), that is acharacter willing to violate the fixed rules, contributes to unleashing the forcesof social disorder loosely-bonded by these rules. Death in the space of leisureresults from the spielbrecher’s collision with the elite’s collective interest whichmakes this death a side effect of the threat of breaking up relations betweenthose in power and the underlings.So the present day cinema not only draws forth the culture’s ludic aspectbut also brings into sharp focus the playing areas’ boundaries and reveals theconflicts of the modern society.