The purpose of this article is to show that the cognitive activities of the film spectators are not passive, but rather form an active and complicated process, in which the spectators participate actively in the procedure of the sense- making about what they see on the screen. The theoretical arguments for it rely on so called cognitive theories, which are investigated by diverse fields of science like cognitive psychology, neurology, linguistic, information science, artificial intelligence, communication theory etc. These different fields of science share the very common point of view that the human cognitive activities are not just a mechanical response to the environment stimuli, but a constructive process, which consists of activities like dividing a part from the whole, throwing the unnecessary ones, adding, replacing and compounding parts. This process is driven by "schemata", which as "a lump of organized knowledge" are not fixed, but dynamic and differ from one individual, nation and culture to the other. Thus the human cognitive activities become an ongoing process. Applied to the film theories this means that the film text in itself is incomplete, which should be filled up through the cognitive activities of the spectators. To these basic spectatorial activities belong the basic assumption, inferences, memory and hypothesizing about that shown in a film. From this point of view a narrative film can be regarded as a process, which engages diverse devices to lead the spectators to a successful reconstruction of the story. In order to analyze this process categories like narrative logic, time and space are applied. These are the basic categories of human cognition which can be divided into several sub-categories such as causation and parallelism by logic, order, frequency, duration by time and so forth. In a text such aspects are organized by the narrative tactics, which mean how the representation of the story is managed in it. The narrative tactics can be well observed and explained with the categories of gap, retardation and redundancy, which in turns are subordinated to the overall narrative strategy that can be described with categories like knowledge, self-consciousness and communicativeness. The detailed and concrete Analysis of the TV-spot "Love will move" using the narrative model derived from the cognitive film theory has shown that even through an ordinary spot which is routinely consumed by spectators the human cognitive activities include a very complicated process, which in this case largely depends on the well known schemata of the targeted young generation. This analysis lead me to the conclusion that the spectators are not fastened in their seats and receive the massage of the film passively, but they instead construct the filmic meanings activity on the basis of their own experiences and knowledge.