In this article a critical reconsideration of neoromantism’s weight in history and theory of universal film is undertaken. Attesting a fi lmological insufficiency in this chapter, the author detects the presence of the artistic current at all stages of the evolution of the seventh art, emphasizing the decisive impact of the neoromantic virtues on German expressionism, in the first stage of the French avant-garde, in the poetic realism and not least in the exciting creation of Jean Cocteau, based on the romantic myth of genius. Neo-Romantic echoes are intercepted in the artistic worlds of some well-known filmmakers such as F. Fellini, L. Visconti, L. Bunuel, germinated in the soil of neorealism and surrealism. In this way the cinema genesis of this current is restored in the article, which refl ects a effervescent continuation of ethnic revival in the context of the former soviet cinema, especially in Ukraine, Georgia, Moldova – carriers of noble cathartic messages for survival of the spiritual and sublime meaning of art. Rediscovering the various cinematic ethnic-cultural universes, triggered by neoromantism, considerably enriches the film area’s expressiveness, contributing to philosophical and esthetic deepening and psychological shading of the film discourse. Finally the hypothesis of excelling of neoromantism as a metacurrent is issued.