The article examines the representation of a character's inner conflict in a work of film art. The fundamental connection between the character’s spiritual quest and the structure of the film’s artistic space is revealed. The visual representation of this quest is essential for cinema. And the more complex it is, the more elaborate model of organizing the filmic space is required. The structure of the labyrinth, defined by Umberto Eco as a way of constructing the plot of neo-avant-garde novels, implies a close relationship between space and action. We can say that any complex process of internal search in cinema is modeled via a labyrinth. And the strange, confusing and twisted space in such cases is the reflection of the character’s twisted and warped inner world. The article shows how the internal quest is manifested through the travel in the labyrinth. The nature of this travel is determined by the internal conflict and, ultimately, the goal of the spiritual search. What can be sought by doing an internal search? Why can you get lost inside yourself? And what should be considered then as the exit from the labyrinth? “Vertigo” features the internal collision of illusions and reality. The structure of a tree-shape labyrinth here is notable for the presence of a false central room, where the protagonist ends up. In “Loveless,” the characters are engaged in pointless activity, simulating a hectic search. Their internal conflict lies in the constant avoidance of not only internal transformation, but also the awareness of its necessity. In “Parasite” the internal conflict of the characters is expressed in the discrepancy between their idea of justice and the order established in the world of the film. Boxer Butch from “Pulp Fiction” dwelling in a unicursal labyrinth, is forced to constantly make heroic choices that negate logic and common sense.