The purpose of the article is the deployment of the philosophem of “death of man” in the films by M. Haneke. Such a statement of the problem is due to the understanding of art as the ground of philosophy that was to a certain extent already proclaimed by Nietzsche. The art provides such means of relation to the truth, which are deprived of rigid conceptualization and are working basing on the freedom of both the author and the recipient. This is (...) characteristic of the non-classical type of philosophy. In XX–XXI centuries special care is taken over the elimination of subjectivist excessive theorizing, while retaining the attention to the experience of consciousness, phenomenology provides its version of attention to the true meaning with its intention to the reduction of redundant constructions and the discovery of the face and voice of intentional objectivity. If verbal art certainly tends to verbalized judgment, then the cinema provides the possibility of holistic visual, auditory and semantic perception. Novelty is due to this approach, when the appeal to the cinema is carried out in the interests of philosophy: we get the opportunity to get into the advanced experience, avoiding verbal transcription. This provides the possibility of implementing a philosophical set on critical thinking in the Kantian sense of understanding of the primordial principles invisible in everyday life. Haneke builds his cinema as an open question without a direct answer, which has the purpose of excite the mind and consciousness of the viewer. The active agent of the events is the moral dimension of personal life. According to Haneke, it is in this that one can see the foundations of human existence, the ineffectiveness of the moral and ethical dimension eliminates human in man, which becomes identical with death. Haneke’s interest in truth and contradiction is realized as a radical inquiry about the principles of civilization, which is exacerbated when the usual way of life is destroyed and the system of values does not work. The idea of European civilization moving beyond its own limits possesses not always clearly identified foundations. Contrary to the technocratic variants of the Übermensch as a posthuman, philosophical cinema Haneke returns the significance of personality-existential ethical practices, which involve critique and analytical comprehension of the principles of their own existence. (shrink)