This article addresses the role played by opera in fiction film by drawing attention to the action film Mission: Impossible – Rogue Nation (Christopher McQuarrie, 2015). Giacomo Puccini’s Turandot (1926) is treated here in a way that makes it appear as something more than a diegetic background and energy reinforcement for action scenes. By taking into consideration Daniel Yacavone’s (2012; 2014) view of film as a combination of a construction and a known world, I argue that the use of opera displays a stretching of the boundaries between fiction and real life, which in turn has implications for how the film can be regarded as an opera–film encounter. The film makes the opera emerge as significant in its own right through an intricate interaction between fictional denotation and engagement with the lived reality of the film viewer. Ultimately, I suggest that Rogue Nation provides an opportunity not only to reconsider a common way of approaching intersections between opera and fiction film, but also to extend and refine Yacavone’s theory.