The aim of this article is to show how, in the 20th century, both themes and social function that previously belonged to fantastic literature are taken over, firstly, by psychoanalysis and then, secondly, by film. We will show the way in which transformations of appearances and functions of the fantastic are in close relation to specific form of expression that fantastic must have in order to be able to appear inside of formal structures of literature, psychoanalysis and, especially, film. Also, we will show the way in which these formal transformations are being reflected on the level of the content in fantastic literature, psychoanalysis and fantastic film.