Opinion – Cinema as an Ideological Mirror: Art or Propaganda?
Introduction
Since its inception, cinema has established itself not only as a form of entertainment but also as a powerful tool for cultural and social influence. Throughout history, regimes and movements have used the seventh art as an instrument of propaganda, shaping consciousness and reinforcing ideologies. Today, in a hyper-polarized global context, the politicization of cinema and its use as a vehicle for ideological messaging have become central topics in debates on freedom of expression, artistic quality, and cultural responsibility. The question remains: when does cinema stop being art and become mere propaganda?
Development
The relationship between cinema and ideology is not new. In the 1930s and 1940s, films like Triumph of the Will, directed by Leni Riefenstahl, demonstrated how cinematic language could serve political purposes with extreme effectiveness. The same occurred in the United States, with wartime films exalting patriotism during World War II. These examples show that cinema has always been intertwined with politics — sometimes as critique, other times as support.
However, what we observe in recent decades is an intensification of ideological discourse in films produced by major studios, especially in Hollywood. Many argue that this trend compromises narrative quality. By prioritizing political messaging over plot development, character depth, and artistic cohesion, films become — in the words of some critics — "audiovisual sermons."
Moreover, there seems to be a certain erosion of ideological plurality. Productions that challenge dominant narratives often face backlash, cancellations, and boycotts. Art, which should foster doubt and questioning, sometimes turns into a soapbox. This impoverishes cultural dialogue and alienates audiences, who begin to notice a uniformity in messaging — all committed to a specific moral framework, rather than to the complexity of the human condition.
On the other hand, it is undeniable that cinema, as a form of artistic and cultural expression, has the right — and perhaps the duty — to reflect its time. Issues such as social inequality, racism, gender identity, and violence are urgent and deserve space in art. Ignoring them would be equally problematic. The central issue, therefore, is not the presence of these themes, but how they are approached: critically and artistically, or in a shallow and propagandistic manner?
Conclusion
The politicization of contemporary cinema is not, in itself, a problem. On the contrary, it can be a legitimate way to provoke reflection and stimulate dialogue. However, when politicization turns into indoctrination — limiting narrative possibilities and stifling creative freedom — cinema runs the risk of losing its artistic essence. A balance must be struck: allowing cinema to speak about politics without becoming a prisoner of it. After all, art should be, above all, a space for freedom — including the freedom to disagree.