This article examines the visualization and function of Baroque architecture, notably the works of Francesco Borromini, in Eugène Green's La Sapienza (2014). Reading the film in tandem with Green's essays on cinema and Baroque art, it analyses the film-maker's harnessing of architecture as a means to elucidate questions that are central to his philosophical enquiry: the tension between rational and spiritual forms of experience, the invisible realm behind appearances, and the mystery of salvation. I argue that La Sapienza develops a complex analogy between architecture and cinema, crystallizing Green's aesthetic philosophy as part of a wider interrogation of intermedial influence.