全球政治情绪恶化推动「抵抗电影」在2025年迅速增长。美国仅有29%民众对国家方向感到满意，特朗普2.0的平均支持率为42%，仅比他自己前任期的41%略高；10月「No Kings」抗议吸引700万人上街。政治电影延续强势表现：Wicked 票房逾7.5亿美元，One Battle After Another 票房2亿美元，Sinners 票房3.68亿美元，Superman 票房6.17亿美元。Mickey 17 以1.33亿美元未能回本。多部影片将威权、白人至上、腐败与移民政策作为核心主题，呼应全球冲突（乌克兰、加萨、苏丹、委内瑞拉爆炸案）的升级。
创作者使用各类叙事结构强化政治隐喻。A House of Dynamite 透过隐去总统形象引导观众思考核危机情境；The Mastermind 以越战时代小人物故事结合背景中的尼克森画面凸显权力腐败；Nuremberg 首周票房900万美元，藉二战审判反射现代侵略主义。主流院线与艺术院线同步响应：Bugonia、Eddington 与 Sirāt 等片都聚焦偏执、冲突与社会瓦解。大片如 Superman 将仇外、虚假信息与科技寡头滥权视觉化，使政治讯息进入商业市场。
两部最受推崇的新作将「生活在威权下的心理变化」置于中心：巴西军政府时期题材的 The Secret Agent，以及在德黑兰秘密拍摄、夺得坎城金棕榈的 It Was Just an Accident。后者以受害者寻求报应但无法确认加害者身分的情节凸显司法崩塌下的伦理困境。整体而言，电影比企业、学界和媒体更快速回应当代压力，形成跨类型、跨国家、以政治危机为核心的影像潮流。
Global political anxiety has accelerated the rise of “resistance cinema” in 2025. Only 29% of Americans report satisfaction with national direction, and Trump 2.0 holds a 42% average approval rating, barely above his prior 41%; the Oct. 18 “No Kings” protest drew 7 million marchers. Political films show strong commercial traction: Wicked earned over $750 million, One Battle After Another made $200 million, Sinners $368 million, and Superman $617 million. Mickey 17 failed to break even at $133 million. Across releases, themes of authoritarianism, White supremacy, corruption, and immigration policy dominate, mirroring global conflict escalation in Ukraine, Gaza, Sudan, and the Venezuelan bombings.
Filmmakers deploy diverse narrative techniques to deepen political critique. A House of Dynamite withholds the president’s image to frame a nuclear-crisis thought experiment; The Mastermind embeds Nixon’s visage to link petty crime with state corruption; Nuremberg opened to $9 million by refracting modern aggression through WWII tribunals. Both arthouse and mainstream sectors engage: Bugonia, Eddington, and Sirāt explore paranoia and societal fracture, while blockbusters such as Superman visualize xenophobia, disinformation, and billionaire overreach, bringing political messaging into the commercial multiplex.
Two of the year’s most acclaimed political works center on psychological transformation under authoritarian rule: The Secret Agent, set during Brazil’s military regime, and It Was Just an Accident, shot secretly in Tehran and winner of the Palme d’Or. The latter’s premise—an ex-prisoner seeking retribution without certainty about his torturer’s identity—exposes justice’s collapse in repressive systems. Collectively, these films respond more quickly than corporations, academia, or media, forming a cross-genre, transnational wave defined by political crisis.