The purpose of the paper is to explore how the films of the 1920s had an influence on Virginia Woolf`s writing technique. Reviewing “Kew Gardens,” focusing on Woolf`s new experimental techniques, Winifred Holtby declared that “Mrs Woolf had discovered the cinema,” by which she meant that Woolf tried to adopt some techniques from the cinema in the short story, such as close-up, bird`s eye view, and shifting the camera angles. “Kew Gardens” is not the only one to be viewed in terms of the influence of the cinema of the times. Woolf`s writings, particularly following Jacob`s Room, may be read in relation with the cinematic culture of the 1920`s, which may yield more productive results. In 1926, the London Film Society was established by a group of intellectuals, including some members of Bloomsbury group, Clive Bell, Roger Fry, and J. Maynard Keynes. The London Film Society became the site of introducing European avant-garde films as well as Hollywood films. The Woolfs were regular attendants to the Saturday film premieres. In her diaries and letters she put comments on and discussed the recent films she watched. She even published an essay titled “The Cinema” in which she discerned the great potentials of the burgeoning art, foresighting its glorious future as an art form on its own right. Woolf`s interest in the film could be dated back to her youth when she took photos and developed them with her siblings at home. Her creative imagination was almost always related to the visual. In one of her childhood memories recounted in The Moments of Being, she recalls that what made her a writer was her desire and habit to make a scene out of a shock or blow she received. Such visual imagination must have been developed and modified in the cultural environment of the 1920s when the film became an important cultural issue. This paper reads Woolf`s short stories written in 1929, “Three Pictures,” “The Lady in the Looking-glass,” and “The Fascination of the Pool,” along with her novels, Jacob`s Room and To the Lighthouse. In “Three Pictures,” Woolf presents three seemingly unconnected pictures, which eventually converge to form a drama of a tragic kind, adopting a filmic “montage” technique. “The Lady in the Looking-glass” tries to make reader reconstruct the image of a lady through the scene reflected in the mirror hung on the wall, using the frame of a mirror as an equivalent to the cinematic frame. “The Fascination of the Pool” explores Woolf`s long standing interest in water and its narcissistic pull, interrogating the validity of the views on the surface and trying to recover the lost memories accumulated underneath. By doing so, Woolf strongly suggests to see the filmic scenes as symbols, instead of watching them passively. The attempt to read Woolf`s writings in relation with the cinema of the times will provide the reader with yet another productive tool to appreciate Woolf by locating her in the cultural milieu of the early twentieth century.