The article provides an overview of Soviet films, reflecting the image of a woman scientist and created by the “pre-thaw” cinema (1945–1955). According to the author of the article, the “pre-thaw” Soviet cinema is full of mythologies that determine both the content and design of variouscultural phenomena. These include the cine-matic image of a woman scientist, reflecting the new Soviet reality. At the same time, the cinema of that time did not so much reflect, but construct reality. The attention of directors began to be attracted by female employees of research institutes and university teachers, who represented a separate part of the educated urban Soviet elite in the post-war USSR. The article describes two periods in the history of Soviet post-war cinema, when the images of the idealwoman scientist were created and the glorification of Science took place in general. The author gives the most vivid examples of cinematic images of women scientists (the collective image of L.Orlova’s heroine from the film “Spring”; the film image of thescientist Sophia Kovalevskaya in the film of the same name).The author insists that after the end of the World War II, cinema reflected changes in ideas about the ideal woman scientist. New approaches to evaluating Soviet cinema are possible thanks to thediscovery of modern interpreta-tive concepts (primarily the gender concept), which describe the social memory of the life and everyday life of rare women scientists in the era when they were literally few in the USSR.