This paper analyzes the visual occupation of urban space through the mythological figure of the angel, focusing on processes of transformation and mortality. Through a comparative analysis of Wim Wenders’ Der Himmel über Berlin (1987) and Luc Besson’s Angel-A (2005), it examines how the city becomes a site where the ethereal and the everyday intersect. The study situates both films within film theory and urban studies, reading the angel as a mediating figure between myth, sensory experience, and modern urban life.