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After witnessing Elon Musk’s controversial salute at Donald Trump’s inauguration, which reignited discussions about the chilling resurgence of authoritarianism, it feels like an opportune time to delve back into cinema’s most gripping portrayals of power, defiance, and the heartrending toll of tyranny. This collection gathers films from various corners of the world, encompassing different eras and genres, serving as a stark reminder of the perils of unchecked authority. As a gamer and movie enthusiast, I find these stories both captivating and thought-provoking.

Instead of delving into masterpieces such as “Schindler’s List” and “Son of Saul,” which powerfully portray the Holocaust and the grim realities of war, or movies like “The Dirty Dozen” and “Defiance,” that vividly depict resistance in military conflicts, we’ve opted to steer clear of these genres. Our focus is on films that delve into the essence of fascism: understanding the structures, beliefs, and societal effects that foster the growth and prosperity of authoritarian regimes.

Explore a diverse range of films such as Chaplin’s satirical masterpiece “The Great Dictator,” Pasolini’s thought-provoking “Salo,” the allegorical apartheid tale “District 9,” and the ironic military depiction in “Starship Troopers.” Lastly, the whimsical “Jojo Rabbit” rounds up this collection. Instead of mere narratives of resistance, these films offer daring insights into the destructive influence of power on society. Delve in to recall, ponder, and challenge the status quo.

‘American History X’ (1998)

If the character Derek Vinyard, portrayed by Edward Norton in Tony Kaye’s movie about white supremacist beliefs, were alive today, he might be a Proud Boy who received a pardon from Trump for offenses related to January 6th. In the film, Derek is initially depicted as a furious, violent neo-Nazi, but after being convicted of murder for brutally killing a Black man attempting to steal his car, he undergoes an unexpected change due to the influence of a wise and charismatic Black inmate, played by Guy Torry. The film’s portrayal of cinematic violence, although it is criticized for its obsession with violence, seems eerily relevant today as it shows Derek and his fellow skinheads bonding, which feels disturbingly prophetic given their loneliness, insecurity, and desperation to find a sense of belonging.

‘Army of Shadows’ (1969)

Jean-Pierre Melville, who was once part of the resistance himself, recreates the German invasion of Paris at the beginning of his 1969 cinematic masterpiece, with Nazi soldiers in boots marching through the Arc de Triomphe. The film that ensues is arguably the greatest ever made about the atmosphere under fascism. Melville portrays the bravery and valor of the French Resistance, many of whom are loosely based on real fighters from Joseph Kessel’s novel. However, he resists glamorizing their methods, which bear a striking resemblance to the criminal activities in his later films. In one early scene, three members of the Resistance silence a traitor using a towel instead of gunfire, prolonging the scene to underscore the harsh realities of heroism and war, and how those fighting an evil regime may themselves become monstrous.

‘Cabaret’ (1972)

Reframing the statement in a more conversational and accessible manner:

Watching the classic musical “Cabaret” today might make you feel uneasy due to its striking similarities with current societal issues in America. The eight-time Oscar-winning masterpiece, directed by Bob Fosse, delivers a chilling message about how cynicism, irony, and apathy can fuel racism and extremism. In today’s context, this warning is still as relevant as ever.

In the movie, British scholar Brian Roberts questions the arrogant aristocrat Baron von Heune, who initially dismisses the rising fascists in 1930s Berlin as “a bunch of foolish thugs.” This character seems to resemble a self-assured Republican politician from around 2016. Liza Minnelli’s portrayal of Sally Bowles is an exceptional demonstration of disengagement and denial, even as chaos unfolds around her – much like people today fiddling while Rome burns.

Joel Grey, who plays the cynical Cabaret Emcee, recently wrote in The New York Times that “history is giving us another chance to tackle the problems that ‘Cabaret’ warned us about.” He goes on to ask: “Will we learn from history this time, or will we keep laughing until the music stops?” Essentially, he’s saying that we have an opportunity to address the forces that “Cabaret” cautioned us against. The question is, will we heed the warning now, or continue ignoring the signs until it’s too late?

‘Casablanca’ (1942)

The romantic classic film “Casablanca,” directed by Michael Curtiz, was intentionally crafted as an anti-fascist message. Originally released in 1942, during a time when the United States had not yet entered World War II, the story follows Rick Blaine (played by Humphrey Bogart), a character who initially identifies as an isolationist but eventually transforms into a dedicated fighter for resistance. In this context, Rick embodies America’s self-image as a reluctant hero. He wishes to avoid European conflicts, saying “I stick my neck out for nobody,” but his sense of morality compels him to make difficult decisions when the future of humanity is at stake. As he grapples with his personal desires, represented by his love for Ilsa (played by Ingrid Bergman), these feelings hold little weight in the larger scheme of things: “in this crazy world, [they] don’t amount to a hill of beans.

‘Come and See’ (1985)

A movie that Elon Musk, or anyone who finds humor in Hitler jokes or Nazi salutes, should definitely watch. Skip the light-hearted and popular portrayals of fascism, ignore all the veiled symbolisms. Instead, experience the raw and unflinching portrayal of Nazi atrocities by Soviet director Elem Klimov. This film offers no comfort or reprieve, only a stark reality. It focuses on a young Belarusian teenager who joins the resistance, hoping for heroism and excitement, but encounters nothing but destruction and terror instead. Drawn from actual survivor accounts, Klimov’s film is told through the eyes of the traumatized protagonist. It’s almost too harsh to watch. Yet, no other film so starkly exposes the moral decay inherent in fascist expansion.

‘Despair’ (1978)

As a gamer delving into the captivating world of Rainer Werner Fassbinder’s cinematic masterpieces, I find myself consistently drawn to his recurring exploration of fascism’s chilling influence. In films like “Lili Marleen,” where a singer finds herself torn between her Jewish lover and her career supported by the Nazis, or “Berlin Alexanderplatz,” where a criminal grapples with society’s descent into darkness, or “The Marriage of Maria Braun,” where prosperity can’t erase the haunting echoes of the past – Fassbinder masterfully portrays the devastating impact of fascism on individuals.

One lesser-known gem in his repertoire is his first major English production, an adaptation of Vladimir Nabokov’s novel brought to life by Tom Stoppard’s script and starring Dirk Bogarde as a Jewish Russian émigré living in 1930s Germany. The rise of the Nazis sends him spiraling into madness, leading him to conceive an eerie plot to collect insurance on a stranger he mistakenly believes is his exact doppelganger. This film noir twist offers a chilling commentary on how insanity might be the sane response to a world descending into chaos.

‘District 9’ (2009)

Debuting in 2009 with the support of Peter Jackson, Neill Blomkamp’s groundbreaking film creatively combined elements of sci-fi creature features and mockumentary satire to reimagine the traditional alien invasion narrative. Instead of focusing on what aliens might do to us, the South African director raises the question of the atrocities we would commit against them if they were unlucky enough to arrive on our racially divided, blood-stained world. The plot revolves around a military operation to move an alien refugee camp, which humans perceive as nothing more than a loathsome, non-native drain on resources – a nod to the forced removals of non-white residents from District Six during apartheid in South Africa, but a storyline that resonates just as deeply with the struggles of immigrants and displaced people in today’s harsh reality.

‘El Conde’ (2023)

Augusto Pinochet, who governed Chile with inhumane rights abuses between 1973 and 1990, was often an unsettling background figure in Pablo Larraín’s early films (Tony Manero, Post Mortem, No). However, in his 2023 production El Conde, the Chilean director decided to bring Pinochet to the forefront. In a bold move described as “a daring dive into irreverent creativity” by The Hollywood Reporter’s main critic, Larraín portrayed the dictator as a 250-year-old vampire who faked his death and continues to haunt humanity and its chronicles. The film offers Dr. Strangelove-style political satire, with cinematographer Ed Lachman’s striking black-and-white visuals serving as an added attraction. On the subject of international relevance and whether the U.S. could be creating a new orange-tinted, everlasting despot, Larraín jokingly commented to The Hollywood Reporter: “If Trump is a vampire, the good news for me is that he’s your vampire, not mine. We’re already dealing with ours.

‘The Empire Strikes Back’ (1980)

As a devoted fan, I can’t help but marvel at John Williams’ masterful theme for Darth Vader, “The Imperial March.” In this piece, we witness the embodiment of a classic fascist prototype – a masked, mechanical figure cloaked in darkness, whose very presence signifies the chilling effects of authoritarian rule; his bond with Luke Skywalker serves as an allegory for the ongoing battle between oppressive systems and individual freedom.

While George Lucas’ original Star Wars series introduced us to the Rebel Alliance and their valiant champions fighting against intergalactic tyranny, it is the somber conclusion of The Empire Strikes Back that seems to resonate more with the shifting societal climate of 2025, where right-wing extremism appears to be on the rise across the globe.

‘Europa Europa’ (1990)

Among many films that tackle resistance against authoritarian rule, there are fewer stories focusing on individuals compelled to conform to totalitarian regimes just to stay alive. In an extraordinary and remarkably true account, Agnieszka Holland narrates the life of Solomon Perel, the fourth child born into a Jewish family in Germany who moved to Poland during the 1930s, hoping to escape Nazi oppression but ultimately failing. Perel managed to survive World War II and the Holocaust through an extraordinary series of disguises; first as a member of the Young Pioneers in a Soviet-controlled orphanage in Grodno, later as a model youth in the Hitler Youth. Solomon’s life – he survived while his family was almost completely eradicated – seems like a cosmic jest, and Holland’s film highlights the absurdity inherent in fascist racial ideologies.

‘The Grand Budapest Hotel’ (2014)

Through the tale of a once-magnificent European hotel and its peculiar residents, set against the backdrop of rising fascism, director Wes Anderson delivers what could be his most personal statement yet. In this narrative, the typical Anderson themes – the whimsical spirit of youthful rebellion and romance, an obsession with intricate, handmade elegance, irony, apathy, and a hint of nostalgia – gain a new dimension. They are portrayed, under the dry wit, as the very elements that make life worth living in an otherwise cruel and chaotic world – values that fascism seeks to erase. As Ralph Fiennes’ character Gustave H., the hotel’s concierge and chief aesthete, poignantly states: “Look, there are still remnants of civility left in this brutal battlefield once called humanity. Indeed, that’s what we offer – our small, humble, insignificant… well, screw it.

‘The Great Dictator’ (1940)

In the late 1930s, Charlie Chaplin decided to create the movie “The Great Dictator” after watching Leni Riefenstahl’s film “Triumph of the Will” at the New York Museum of Modern Art. This marked the beginning of one of the most significant cinematic debates of the 20th century. Known as one of the most impactful Hollywood satires ever, it was also the Tramp’s first talkie and his most commercially successful film. In this movie, Chaplin plays two leading roles: a cruel dictator and a kind Jewish barber who is mistaken for him. The release of “The Great Dictator” ignited strong anti-German feelings in America before the U.S. officially entered World War II, and it later became a popular rallying cry in war-torn Western Europe. Over the years, “The Great Dictator” has been admired for its boldness and mastery of slapstick comedy, although Chaplin later expressed some doubts about his decision to make fun of the Nazis’ murderous insanity when he was planning the project, as he didn’t know about the atrocities in concentration camps at that time.

‘The Host’ (2006)

As a gamer, I’d say it like this: In a thrilling blend of Godzilla-style action, dark humor, and heartwarming family drama, Bong Joon Ho crafted an unforgettable monster movie with The Host. After a careless U.S. military doctor pours gallons of formaldehyde into Seoul’s Han river, a colossal, terrifying slug-like creature is born from the depths. When this beast snatches my little sister, our struggling Park family becomes entangled in a battle against both the monster and the oppressive government response that follows. The story delves deep into the horrors of quarantines, media manipulation, restricted freedoms, and widespread fear. If Parasite exposed the essence of late-stage capitalism through the lens of a cunning family of swindlers, The Host reveals how a powerful system can come to dehumanize its own people, treating them as unwanted contaminants in need of eradication or control.

‘Ida’ (2014)

One major theme in Pawel Pawlikowski’s heart-wrenching Academy Award winner, “Ida,” revolves around the impact of memory — both personal and collective — on the continuation of authoritarian oppression. The story unfolds in 1960s Poland, where a young nun named Anna is about to take her vows when she’s dispatched to meet her only living relative, her aunt Wanda. Known for her past as a communist resistance fighter turned judge, Wanda has a dark reputation for sentencing “enemies of the people” to their deaths. As it turns out, Wanda reveals that Anna is actually Ida Lebenstein, her Jewish relative. Their journey through the Polish countryside aims to uncover the truth about Ida’s parents, who were first hidden by Christians from German occupiers and later betrayed and murdered. The film, beautifully shot in black-and-white using the same format as Pawlikowski’s later work “Cold War,” delves into how distorting or overlooking history can result in repeating patterns of state violence. However, it leaves us without clear solutions on how a nation that has embraced fascism can ever truly heal itself again.

‘Indiana Jones and the Last Crusade’ (1989)

Nazis. I can’t stand them.” The movie “Raiders of the Lost Ark” paved the way, but “Indiana Jones and the Last Crusade” solidified this idea with a memorable line from Harrison Ford – a quote that brings laughter, reveals a crucial plot point (once again, it’s the Nazis!), and underscores a recurring theme in the franchise: Indiana Jones excels when confronting humanity’s greatest evil. Do you remember those times? When it was so universally accepted that the Nazis were despicable (yes, despicable) that instead of billionaires behaving like modern-day Nazis, we had talented filmmakers like Steven Spielberg humorously resurrecting cinema’s traditional villains to serve as the backdrop for exciting, family-friendly adventure – the kind of adventure that can only exist in a world free from fascism and serves as a powerful reminder of why we should choose differently?

‘Inglourious Basterds’ (2009)

Indeed, the most knowledgeable film enthusiast, known for his deep understanding of classic Hollywood, has always recognized that the Nazis are portrayed as villains (hey Elon, pay attention again…). Quentin Tarantino, a master of humorous alternate histories, demonstrated this in his first trilogy with the movie “Inglourious Basterds”. In this film, Eli Roth plays a Jewish character from Brooklyn armed with a baseball bat, while Christoph Waltz delivers an outstanding performance as a meticulous German embodying evil. A particularly memorable scene involves a sudden cut to Joseph Goebbels, gasping like a frantic pig during a heated sexual encounter. The climax of the movie, a cinematic massacre of top Nazi officials, showcases Tarantino’s most audacious use of screen violence since his groundbreaking depiction in “Pulp Fiction” back in 1994, where a gun incident in the back seat left an indelible impact.

‘Joint Security Area’ (2000)

As a gamer immersed in film, I’d say:

“Back in the day, Park Chan-wook’s groundbreaking movie, ‘JSA,’ delved deep into a heart-rending incident unfolding along the Korean Demilitarized Zone during tense times between North and South. This gripping mystery thriller had an unexpected twist – the rivals engaged in conflict were actually friends, bonding secretly across the DMZ during their shared patrols. A superior’s discovery of their friendship set off a chain reaction, leading to an unavoidable tragedy due to the harsh realities of political strife.

South Korean acting legend Song Kang-ho (famous for ‘Parasite’ and ‘Memories of Murder’) shattered barriers by bringing his everyman charm to the role of the North Korean protagonist. He spent months learning the Northern dialect through interactions with actual defectors. At the time of its release, ‘JSA’ was a box office sensation in South Korea, marking a historical first for a film featuring a complex North Korean character.

Park Chan-wook shared in an interview with THR that portraying North Koreans as anything other than demons or monsters was significant because of the past authoritarian anti-communist government’s stereotyping. He felt it crucial to depict them as ordinary people.

‘Jojo Rabbit’ (2019)

In a modern take on Charlie Chaplin’s “The Great Dictator,” director Taika Waititi employs his signature absurdist humor to portray Nazi ideology in a naive, mocking light through the lens of a young German boy, Johannes (Roman Griffin Davis). His imaginary friend is none other than Hitler, played by Waititi himself in a comical fashion. This bold concept yields some striking and amusing moments, such as blending footage from “Triumph of the Will” with the sounds of The Beatles singing in German, thereby presenting Hitler as a popular idol. Although the movie’s overall tone may be overly charming and sugary, its caricatured portrayal effectively highlights the absurdity underlying an evil system, which is the core message of “Jojo Rabbit.

‘Leviathan’ (2014)

Andrey Zvyagintsev’s film, titled “Leviathan,” offers a visually striking and oppressive exploration of the hardships and injustices endemic to Vladimir Putin’s Russia. The movie features elements of black comedy, breathtaking nature photography, and some of the most disturbing — yet seemingly justified — vodka consumption on camera. The narrative follows our resilient protagonist, Nikolay Sergeyev, as he confronts the local mayor’s corrupt land-grab scheme, only to have the kleptocracy strip him of his home, family, dignity, and freedom. Accompanied by Philip Glass’ “Akhnaten,” the film is replete with ironic allusions to both the Bible and Thomas Hobbes, but its intelligence serves as mere cinematic adornment atop a merciless, unsparing indictment of the authoritarian corruption that has permeated every facet of Russian public life.

‘The Lives of Others’ (2006)

Exploring the inner workings of authoritarian regimes that thrive on fear and silent cooperation, Florian Henckel von Donnersmarck’s Academy Award-winning debut film, “The Lives of Others,” offers a perspective from an East German Stasi agent (played brilliantly by Ulrich Mühe). Initially, this agent spends his days wiretapping dissident artists but undergoes a moral transformation and chooses to resist the system from within. This thought-provoking film serves as a call to arms for the power of art and empathy in challenging political authority.

‘Mephisto’ (1981)

Klaus Maria Brandauer delivers a gripping performance in this Academy Award-winning movie, portraying a fiercely ambitious German actor who recognizes the rise of the Nazis as an opportunity for fame and fortune. In the film, directed by István Szabó, we see a depiction of a Faustian pact – an adaptation of Klaus Mann’s satirical novel, which was reportedly influenced by his brother-in-law Gustaf Gründgens, a collaborator with the Nazis and actor himself. This portrayal may prove unsettling for Hollywood figures who once claimed to resist following the 2016 election but have since become less vocal. Szabó’s work underscores how totalitarian systems are adept at luring and manipulating artists, making them accomplices in spreading ideologies that promote oppression.

‘Minority Report’ (2002)

In the future, year 2054, Steven Spielberg directs a movie starring Tom Cruise who is swiftly evading a complex conspiracy designed by Philip K. Dick. This world is governed by a police state that boasts of a flawless pre-crime detection system. Three extraordinary individuals with precognitive abilities are kept in a suspended state, their brainwaves monitored by supercomputers searching for hints of future crimes. When the intention to commit a crime is detected, law enforcement swiftly intervenes to prevent the crime before it occurs. The holographic gloves used by Tom Cruise, which were revolutionary and astonishing in 2002, now appear somewhat outdated in 2025. However, the film’s cautionary tale about technology-driven authoritarianism, which exceeds human understanding, seems increasingly relevant today as we witness rapid advancements in artificial intelligence.

‘Moffie’ (2019)

As a passionate movie enthusiast, particularly fascinated by the environments that breed innovators like Elon Musk, I’d recommend you to explore this underrated gem directed by Oliver Hermanus from South Africa. In the year 1981, when homosexuality was still illegal in the country, a man hiding his sexuality is conscripted into mandatory military service and experiences humiliation, disgrace, and intense psychological torture. The film’s title derives from a derogatory Afrikaans phrase often hurled at those who are gay. This thought-provoking movie, based on André Carl van der Merwe’s autobiographical novel, sheds light on the intricate connections between racial and sexual oppression, as well as the brutal system that supports them both.

‘1900 (Novecento)’ (1976)

Several outstanding Italian films delve into life during fascism, such as “The Garden of the Finzi-Continis” by Vittorio De Sica, “A Special Day” by Ettore Scola, and “Night of the Shooting Stars” by the Taviani brothers. However, none quite match the impact of Bernardo Bertolucci’s epic masterpiece, “1900”. This film features Robert De Niro as Alfredo, a wealthy landowner, and Gérard Depardieu as Olmo, an illegitimate peasant, who form a friendship that is tested by the class struggle leading to Mussolini. The movie, though lengthy (ranging from 4 to 5 hours), is richly operatic and intensely sensual, with its Marxist leanings never veering into dogma. Fundamentally, the film delves into the origins of fascism in economic disparity and social friction, while highlighting the significance of individual decision-making in resisting or succumbing to it.

‘Pan’s Labyrinth’ (2006)

In the heart of a grimy Spanish woodland during Spain’s oppressive fascist era, visionary filmmaker Guillermo del Toro breathes life into an innocent girl’s imaginative realm, crafting a powerful tale about power, corruption, and resistance. As Ofelia embarks on her enchanting journeys, they mirror the clandestine fight of the Spanish Republicans. Del Toro masterfully blends personal folklore with real-life resistance, implying – as most of his fantastical movies do – that imagination is a formidable act of revolution.

‘Peppermint Candy’ (1999)

This relatively unacknowledged masterpiece by South Korean director Lee Chang-dong presents itself in multiple aspects – a compelling structural exploration, an emotionally profound character analysis, and a persuasive thesis on the lingering impact of authoritarian eras on a nation for generations. The narrative unfolds as follows: a distraught middle-aged man (portrayed by Sul Kyung-gu), who hurls himself under a train while his old classmates celebrate their 20th reunion in a nearby park, serves as the starting point. This film then unfolds backwards along the tracks, disclosing six pivotal incidents that led to this tragic climax. These interconnected vignettes, which grow progressively poignant as the story comes together, depict the man’s journey from Asia’s spiritually barren 1990s economic surge into several harrowing events during Korea’s oppressive 1980s military regime. By the film’s conclusion, when we encounter the protagonist again in his final episode as an innocent youth on the brink of adulthood, the knowledge of how Korean history will shape his life into a crushing tragedy is almost unbearable.

‘Persepolis’ (2007)

Marjane Satrapi’s animated biographical film, an adaptation of her graphic novel detailing her upbringing in pre- and post-revolutionary Iran, offers a profoundly personal, frequently humorous critique of totalitarianism. Prior to the Islamic revolution, young Marjane was a fan of punk music and Bruce Lee, the daughter of affluent, staunchly secular leftists who opposed the Shah’s dictatorship and turned their noses up at the Islamics taking power, only to witness one authoritarian regime replaced by another. Not oversimplified enough to be dismissed as mere anti-Iran propaganda — when Marjane leaves for school abroad, Satrapi reveals the condescending and misogynistic attitudes present in the so-called “free world” — Persepolis is a nuanced critique of all forms of fundamentalism, be it Islamic or Western.

‘Porco Rosso’ (1992)

As a gamer, I find myself captivated by the recurring visual symbolism of freedom and creative growth in the works of anime legend Hayao Miyazaki, particularly his passion for aviation, reflected in his studio’s name, inspired by an old Italian aircraft. In the film “Porco Rosso,” set on Italy’s Adriatic Coast in 1929, seven years after Mussolini took power, we delve into a whimsical story about a former World War I pilot turned pig who still soars through the skies with panache. The reason for Porco’s peculiar transformation – survivor’s guilt from the war or rejection of Italy’s oppressive nationalism to live by his own code as a freelance bounty hunter, defying both Italian secret police and air pirates – remains ambiguous in the story. However, Miyazaki leaves no doubt about Porco’s representation of free-spirited heroism, as he rejects an offer to return to the Italian air force with a cushy position by declaring, “I’d rather be a pig than a fascist.

‘The Prime of Miss Jean Brodie’ (1969)

In the years preceding when Professor McGonagall’s stern gaze sent chills down Harry Potter’s spine, Maggie Smith delivered a captivating, chilling (and Academy Award-winning) performance as the title character in this adaptation of Muriel Spark’s warning tale. Miss Brodie’s allure, and her belief that her students should learn about “beauty, honor, and courage,” seem to align with the teaching philosophy of Robin Williams in Dead Poets Society. However, there is a more sinister undertone. The story unfolds in the 1930s, and Brodie openly admires fascist leaders such as Benito Mussolini and Francisco Franco. The influence she wields over her favorite students — the “Brodie Set” — will lead to tragic consequences. Ronald Neame’s film subtly explores the fine line between intellectual attraction and moral decay, and the dangerous implications of charismatic brainwashing.

‘Rome, Open City’ (1945)

Rossellini’s “Rome, Open City” serves as a powerful neorealistic portrayal of Italy’s resistance against totalitarianism during World War II. The movie, filmed on the actual war-ravaged streets of Rome, eschews romanticized heroics to depict the fight against fascism as a grueling, fear-filled struggle marked by ever-present danger and suspicion. As Italy eventually turned against Mussolini’s fascists, two leftist activists and a Catholic priest, each symbolizing different types of resistance, find themselves in a Rome under Nazi occupation. Germany had reinstated the Italian dictator as a puppet ruler in northern Salò. Rossellini unflinchingly portrays the grim reality, using the film as a street-level analysis of how fascist rule thrives on systemic violence, terror, and dehumanization. Yet, despite the harshness, there’s an undercurrent of passion in the movie, a steadfast resolve that even in the darkest times, humans will persevere.

‘Rosenstrasse’ (2003)

German director Margarethe von Trotta, known for portraying resilient women challenging toxic masculinity, presents another inspiring tale of female resistance in this movie. In 1943, during Hitler’s reign, Berlin’s remaining Jews were being deported to concentration camps. A select group of Jewish men, married to non-Jewish Germans, were given a temporary reprieve and held at a Jewish community center in Rosenstrasse. Their wives demonstrated outside, which surprisingly led the Nazis to reverse their decision and release these men, many of whom survived. Although von Trotta occasionally employs overly dramatic elements, this film serves as evidence that ordinary citizens can indeed resist a fascist regime, challenging the common assumption.

‘Salò, or the 120 Days of Sodom’ (1975)

In simpler terms, “Fascism is likened to a brutal, sadistic movie, as depicted by Italian artist and intellectual Pier Paolo Pasolini in his film ‘Salò,’ set during World War II in northern Italy under Mussolini’s fascist regime. The story revolves around four corrupt, power-hungry leaders who abduct 18 teenagers and subject them to prolonged physical and mental torment. This film is divided into four parts, inspired by Dante’s ‘Divine Comedy,’ but any intellectual discussions are overshadowed by Pasolini’s graphic portrayal of violence, including rape, hanging, scalping, mutilation, and torture. The movie serves as a chilling warning of the brutal consequences that can arise from fascist ideologies.

‘Soldier of Orange’ (1977)

In a nutshell, Paul Verhoeven, a renowned anti-fascist director of today, made his breakthrough in 1977 with a film titled “Soldier of Orange“. This movie focuses on a group of university students whose lives take drastically different turns after the Netherlands is occupied by the Nazis. One student meets a tragic end, another becomes a traitor, and one rises to become a war hero. The film’s message – that ordinary individuals can effectively resist oppressive regimes – never overshadows its gripping narrative. Additionally, Rutger Hauer delivers an exceptionally attractive performance in this movie.

‘Starship Troopers’ (1997)

Paul Verhoeven’s “Starship Troopers” is a highly effective satire of fascist ideology that initially confused many critics in 1997, causing them to incorrectly perceive the film as an endorsement of authoritarianism. This misinterpretation overlooked the prevalent anti-fascist themes throughout Verhoeven’s previous work, which includes films like “Soldier of Orange,” “RoboCop,” and “Total Recall.” In retrospect, these misunderstandings underscore Verhoeven’s intention to expose the allure of fascistic tendencies, even when exaggerated. Elements criticized by early viewers are actually what makes the film so amusing and clever, such as the intentional choice of very attractive yet seemingly dim-witted lead actors, the enthusiastic depiction of militant violence, and the use of Nazi imagery in costumes, sets, and dialogue snippets.

‘The Tin Drum’ (1979)

In the Oscar-winning epic directed by Volker Schlöndorff, titled “The Tin Drum,” the central character Oskar Matzerath, a unique percussionist with an unusually high pitch, is often compared to Peter Pan of anti-fascism. He refuses to mature beyond childhood because maturity signifies becoming a Nazi sympathizer. This film, based on Günter Grass’s magic realist novel about a boy who stops growing at age 3 and possesses the power to shatter glass with his voice, employs a childlike perspective to ridicule the grandiosity of Nazism. In one scene, Oskar’s drumming disrupts a military march during a party rally, converting it into a mass waltz. (It’s a shame Oskar wasn’t invited to perform at Donald Trump’s inauguration.) While Oskar is far from an innocent or sweet character – famously referred to as an “unsavory brat” by the late critic Roger Ebert – it’s through such defiant actions that we can challenge and expose fascist hypocrisy.

‘To Be or Not to Be’ (1942)

In the provocative film “To Be or Not to Be,” directed by Ernst Lubitsch and starring Jack Benny and Carole Lombard as a theatrical couple in Nazi-occupied Warsaw, humor and tragedy intertwine as they become embroiled in a spy plot while the SS are rounding up Jewish residents for concentration camps. Produced just before the U.S.’s entry into World War II, the movie was met with controversy upon its 1942 release, being criticized as distasteful by many. However, “To Be or Not to Be” is a multilayered production that juxtaposes humor with stark depictions of reality, suggesting that witty banter and subtle visual symbolism – Lubitsch’s signature style – are no less than the essence of civilization, representing some of our most refined expressions of happiness. The Nazis aim to crush these very elements.

‘The Zone of Interest’ (2023)

In a different approach from many Holocaust films focusing on the atrocities committed by Nazis, Jonathan Glazer highlights the chilling apathy that facilitated these acts. Instead of concentrating on Rudolf Höss, the Auschwitz commander, and his wife Hedwig, Glazer presents their ordinary lives as a stark contrast to the horrific backdrop of mass murder. The ovens may not be shown directly, but their chilling presence is felt just beyond the wall. Glazer emphasized during his Oscar acceptance speech for Zone, that the film’s intent was to prompt reflection and confrontation in the present, rather than simply focusing on what happened then. He explained, “Our film demonstrates where dehumanization can lead, at its worst. It has shaped our entire past and present.

2025-01-29 20:59