The cultural message of the article is related to the urgent need to rehabilitate in historical and artistic rights one of the most important cinematic currents, left out of theoretical awareness – neo-romanticism. The re-examination of the rooting and consolidation of the neo-romantic dimension in the context of the development of the new artistic phenomenon is succeeded by the attestation of the ideational-aesthetic mutations of the current during the “ethnic renaissance” of Eastern European cultures in the 1960s. The validity of innovative metamorphoses is argued by capturing new horizons of cinematic knowledge. The revaluation of the ontic myths of classical romanticism – the myth of the eternal return and the myth of the romantic dream, knowingly extrapolated to modernity, as well as the persistence of confessional anthropocentrism – had a special resonance in both the crystallization of sacred monsters’ creeds from all historical stages, as well as in the substratum of the apparently anti-romantic tendencies of the film art in the last decades of the XX century.