The evolution of nonfiction cinematography, concurrent with its various functions, has also demonstrated its artistic potential. The basic component of this potential is the poetic language with its formulas - figures of speech: symbol, metaphor, repetition, archetypes, mythological and biblical motifs, etc. These are some “nerve centers” (L. Ghinzburg), the touch of which arouses meditations, provokes emotions, and determines the conceptual and stylistic identity of the creators. It makes the cinematic narrative cross the limits of the concrete, tending towards universality. Based on the cinematographic creation (Goblen/Tapestry, Vremuri de-a trăi/ Times to Live, Vai, sărmana turturică / Woe, Poor Turtledove, Cheamă-i, Doamne, înapoi/ Oh God, Call them back, Obsesie/Obsession, Frontiere/ Borders, Tata/ Father, Ştefan cel Mare /Stephen the Great, etc.) of the director Vlad Druc, who managed to explore most of the functions of style (artistic, figurative, symbolic, aesthetic, cognitive, etc.), we will research the conception of this filmmaker about the role and artistic-aesthetic possibilities of poetic language, about the ways of creating and using poetic formulas in the context of non-fiction cinematographic discourse.