The article deals with the problem of constructing and perceiving cinematographic metaphors from the point of view of a cognitive science. Such an approach provides a new means of interpreting metaphor that takes into account the specifics of cinematic art. The article considers concepts including ‘local metaphor’, ‘conceptual metaphor’, ‘orientation metaphor’, and ‘metaphorical overtones’. Significant attention is paid to the role of context in the creation of a metaphorical image, and to the function of what might be termed ‘visual metonymy’ as a trigger that stimulates the mechanism for perceiving an on-screen metaphor.