Abstract: The article analyzes the peculiarities of a director’s interpretation of the image of the main character of the 2006 “Tristan and Isolde”. The author analyzes the expressive means, including the musical ones, and the screenplay in comparison with the original novel by Gottfried von Strassburg. The scientific novelty of the research is determined by the fact that the author is the first Russian scholar who studies this film using the methods of interdisciplinary analysis, which helps to compare the image of the protagonist with its historic and cultural prototype, and detect the artististic and esthetic position of the director. The research methodology includes the comparative, art, historic and cinematological, and musical analysis, the principles of semiotic analysis in relation to the elements of the artistic language of the film as “independent” texts. The authors come to the following conclusions: the director follows the tradition of history films using the mythologic materials, but not using their “magicness”, embedding the implied mythology. The key points are highlighted by the music which is more than merely supplementary and denotes the genetic linkage of the heroes’s senses with nature and becomes an integral element of the media text. Besides, the music in the film plays an important form-making role connecting its segments. The worldview depicted in the film is vertically multifaceted: it contains the referrals to the Migration Period, the Middle Ages and modernity.