The aim of this study was to verify the hypothesis that in the Serbian cinematography in the period from 2010 to 2014 a new film movement was created for which the most adequate title is the New Realism. As a case study we used the films Tilva Ros (2010, Nikola Ležaić), Clip (2012, Maja Miloš) and Barbarians (2014, Ivan Ikić). As a result of analysis, thematic similarities were found in the production, in treatment of the subject and the language of all three films. These similarities are reflected in the turnaround of the production necessity towards a new film expression that is focused on dealing with the trauma of growing up in Serbia and (self) destructiveness as a response. All three stories were presented in a realistic manner, using loosening of the boundaries of fiction and reality in the service of enhancing the edge of social criticism. New Realism is also characterized by the minimalist stories with deep penetration into the intimate world of their heroes. On the basis of these results, a working hypothesis has been accepted and the identified similarities were denoted as characteristics of a new film movement.