We review prior work on geometric semantics, temporal progression, and indexing in pictorial narratives, and then develop them for film, using an abstract syntax that assembles film shots, and is interpreted compositionally. The result is a compositional possible worlds semantics for extensional passages in film. Intensional passages in film include shots describing the hallucinations, dreams, and recollections of a character. Thematically, they include stories about drug-induced hallucination, characters who see the dead, and schizophrenic characters who interact with imaginary ones. In the abstract syntax, a straightforward embedding strategy is adopted, involving an attitude predicate, an index for an experiencer, and an index for the counterpart of the experiencer in the embedded passage. For the semantics, we argue that there is a systematic problem of the embedded shots having detailed geometric, temporal, and (for sound film) acoustic information. This information is so strong that it is implausible that in described situations, the experiencing character should have strong enough information to entail the information in the embedded shot. This makes Hintikka/Lewis semantics for embedding in film problematic. A starting point for a solution is found in linguistic descriptions of the content of embedded film passages that use an existential modal {\em could}, rather than a universal one. This is developed into a possible worlds semantics for filmic embedding that uses existential world quantification, strengthened by a normality condition stated using an ordering source.