There are images, which emphasize the frontality of the two-dimensional closed frame and induce with it particular distance to the reality. This images express openly the theatricality in connection with the acting and the pictoriality in connecting with the silent-art and by so doing suggest irrational character as film images. This paper concentrates on this film images and defines it as filmic tableau (vivant). The tableau in the theory of theater is an important structural element for the pictorial dramaturgy, which focuses on the gesture and physiognomy of actors. The result of such tableau expresses the intense impressions, which appeal to the mind of audience. The tableau in the sculpture shows as an independent performance the reviviscence through the invest of spirit. Therefore, it is regarded as a frozen happening, which is constituted pictorial or theatrical. The concept of the filmic tableau (vivant) expresses the strange stopped situation and the gesture with the physiognomy, which show mute actors, and performs the function to disjunct the relationship between the concrete physicality and the abstract conception. The tableau in here can be considered as place for the perception in the narrative of film and as a reflective attitude of the director at the same time. The films of Rainer Werner Fassbinder and Aki Kaurismaki provide proper examples for the aesthetic of the filmic tableau. Fassbinder made the best use of the filmic tableau for the realization of his film-philosophy to integrate the art into the life. Likewise, Kaurismakis filmic handwriting is composed characteristically of the filmic tableau, which reproduces the gloomy reality of Finland with the unique melancholy. Also, this article aims to study the tableau as a film-aesthetic apparatus and analyze on the basis of this definition the films of the above-mentioned two directors.