The digitization and virtualization of the world is a process that does not stop, in which the cinema has been a privileged witness of these changes, from its first digital sketches in the eighties to the 3D technologies and K formats of today. But what is behind this? What imaginaries, aesthetic-audiovisual operations and discourses are being articulated in the synthetic images of contemporary cinema? This book introduces itself to these problems in order to look at the Romanticism of the first half of the nineteenth century as a key to reading. There where it shares with the present being born into a profound technological revolution in all the specters of personal, social and political life, but where it was still remembered to live materially and spiritually in premodern worlds. Is there a revival of romantic ideas today? Are we facing new confidence in modernity? What is the relationship between art and technique in these digitized environments? Can one speak about the cinema of a «Synthetic Neoromanticism»? In what ways does this crystallize? These are the unknowns that this text tries to solve.