This book develops the so-called “solaristic ontology” of film by building a philosophical system based on an inquiry into the nature of film, being and reality. This “solaristic system” appropriates the aesthetic ideas and principles of thought present in the 1972 sci-fi movie Solaris by Andrei Tarkovsky. This movie is the main center of analysis here since it is highly symptomatic of the medium’s philosophical self-reflexivity and its intriguing correlation with reality and being. The “solaristic science” is a fictional science introduced in the movie’s diegesis and dedicated to the investigation of the planet Solaris, an unattainable challenge. In this sense, the solaristic system closes the film’s narrative by telling a philosophical story on the planet Solaris. The book thus details a philosophical form of concept art, and, at the same time, builds on previous results of film philosophy, as well as the speculative turn in contemporary philosophy.