The article stems from social representations of coolness in Slovak cinema of the beginning of the new millenium and examines how these representations blur or deform the idea of continuities and discontinuities with regard to the sensibility of postsocialist Slovak cinema. The article points out the critical response of Slovak urban lifestyle films from the beginning of the new millenium and shows the transformation of its own idea of anaesthetical coolness into “festival” dramaturgy of the cycle of Slovak social dramas appearing after 2009.