Courtroom films feature legal cases or court hearings. In a broad sense, it is a law film, and while in a narrow sense, it is a courtroom film with the court hearing of a particular case as the narrative subject. As a relatively mature genre, American courtroom films have relatively clear narrative modes and cultural functions. The subjects of this paper are Korean and Chinese courtroom films. Both Korea and China adopted the continental law system, but the legal systems of this two countries are formed in different historical and cultural backgrounds. Therefore their respective political, economic, cultural, religious and social status have great differences in legal concepts and legal systems. Korea and China have developed relatively mature law films through the localization of American courtroom films. Such difference is reflected in films at various levels, such as characters, narration, audiovisual language, and cultural themes. Typical scene space in courtroom films can be roughly presented in four categories, namely, life scene space, crime scene space, courtroom scene space and prison scene space. In this paper, spatial narrative theory will be used to study the Korean Film The Attorney and the Chinese Film Silent Witness and compare and analyze the similarities and differences between the two films from the typical narrative space form to the construction of narrative space audition, and then to the development trend and prospect of the space image. It's explored that the spatial narrative in films plays an important role in establishing the tone, shaping the characters, advancing the plot, setting the suspense and expressing the metaphors.