One of the characteristics of films related to the “new sincerity”trend is the priority use of the type expressiveness of the actor. The essaycompares between the methods of using the type expressiveness of an actor inthe artistic concepts of Lev Kuleshov and Sergei Eisenstein and in the films of“new sincerity”.Lev Kuleshov's concept of the “model” is characterized by emotionalityproduced by posing instead of experiencing emotions corresponding to aspecific pose. In the films of “new sincerity” this emotionality is characteristicof the protagonists and is interpreted as their inability to experience and reflect.This complex mental state is typical of protagonists in the “new sincerity” films.Such characteristic features of Sergei Eisenstein's “masks” as their staticcharacter, negativity and actions and appearances conditioned by social statusare interpreted by “new sincerity” filmmakers as protagonists' problems,their inability to be sincere with themselves and with others. Identification ofprotagonists with their social “masks” threatens them with death.On the visual level, the type expressiveness of actors is emphasized by longplans, using a panoramic lens when shooting close-ups of faces; symbolismin a costume. Often masks, dolls and mummers appear in the frame as signsindicating a human individuality dying under a social mask.The use of type expressiveness of the actor in the films of “new sincerity” isexplored in the essay as an example of the artists' striving for the authenticity ofscreen reality, which results from the authenticity of the actor’s existence withinthe frame and the “reflection” of the hero’s unconscious sphere characteristic of“type”.