The relationship between politics and the cinema is probably one of the most vexatious questions to have occupied the academic discipline of film studies, and thinking on the cinema more broadly. In their landmark 1969 text “Cinema/Ideology/Criticism,” Cahiers du cinéma editors Jean-Louis Comolli and Jean Narboni declared that “every film is political,” but this article will focus on those works that explicitly seek an engagement with political subject matter.