Ekstasis (the Ancient Greek word for ecstasy) is the state of being outside (oneself or something), displacement, a state that exceeds individual human existence. It opens a path for a person into the extrahuman transpersonal realm, where other archaic, unconscious, heterogeneous, sensual, erotic, animal forces are actualized. Modern art-house cinema demands even more complex artistic techniques and a subtler level of conceptual work to express these ecstatic states. The concept of ek-stasis enables us to explore the limits and structures of subjectivity, the restructuring and shifting of boundaries between the external and internal, and ultimately, to trace the transition from the visual to the auditory plane in modern cinema, based on their complex interaction. The conceptual experiments of the modern (2000s) art-house — the existential experimental drama “The Lake” by Philippe Grandrieux (2008) and the psychological drama “Euphoria” by Ivan Vyrypaev (2006) — are considered within their social context and analyzed at the intersection of the Christian-mystical philosophy of ecstasy, modern psychoanalysis and audial phenomenology. Lastly, using Dziga Vertov’s “Enthusiasm. Symphony of Donbass” (1930) as an example, we demonstrate how audiovisual cinema does not oppose the sensory modalities of auditory and visual but arranges and (versionem, versio) between them.