The New Greek Cinema (NGC), which shone during the 1970s, is one of the most significant artistic movements in Greece at the end of the Twentieth century. This study aims to broaden the ways of interpreting this aesthetic phenomenon, beyond the historical-political or economic-social approach. Thus, a philosophical investigation is chosen based on the concepts of institutional discourse and truth. The basic parameters of the commercial-narrative cinema that preceded are explored to better demonstrate the rupture brought about by the NGC and the consequent change in aesthetic epistemological paradigm. The research focuses on the obvious differences with older directors (Sakellarios, Dalianidis) as well as the departure from the so-called quality cinema (Kakogiannis, Kanellopoulos, Koundouros). The presentation of aspects of the work of its main representatives such as Angelopoulos, Theos, Panayotopoulos, etc., highlights the formal ecstasy that characterizes the movement and is at the basis of its institutionalization and its peculiar thirst for truth.