The “optional cinema model” that is revealed in this book allows the author to present a unique interpretative-philosophical view through five films: “Blind Chance” (Kieslowski, 1982), “Sliding Doors” (Howitt, 1998) and “Run Lola Run” (Tykwer, 1998), “Smoking/No Smoking” (Resnais, 1993) and “A Time for Love” (Makhmalbaf, 1991). The optionality that characterizes the structure of the films is interpreted here as the generator of questions about the nature of the world and its possible perpetrators – God, fate, the laws of nature, and, perhaps, blind chance. And who lends meaning to the film – the creator? The viewer? Or perhaps, the meaning exists in the work itself and it is our role as viewers to search for and identify it. This optionality paradigm stimulates ethical questions about freedom of choice and free will.