The aim of this paper is to analyze the ways in which politics, or politics, appears in film. The paper is divided into three parts, each of which seeks to show in more detail how film and politics are united and connected. The first part of the paper focuses on some more general determinants of film and politics in film, and answers questions such as: is there still political film ?, has he the possibility of articulating the political in film disappeared in neoliberal society ?, which are the main backbones of questioning political in cinematography ?, and can we strictly define a film as political given its form, content, or the context in which it occurs and is made? The second part of the paper briefly defines the concepts of politics, ethics and aesthetics in relation to the film, as well as their functioning and manifestation within the film as a whole. It deals with theorists of different views on the meaning and significance of film in order to expose the multiplicity and complexity of the relationship between politics and film. Also, the paper focuses on certain periods in the history of cinematography that were at the forefront in terms of (ways) of policy thematization; such as the cinema of the Soviet revolutionary period and / or the Italian cinema of the 1960s. The third (final) part of the paper deals with the analysis of concrete cases, and four great directors from the field of political film and from different historical moments are taken as an example: Eisenstein, Riefenstahl, Loach and Bellocchio. The example of some of their films illustrates how aesthetically, ethically and directly politically they come to the fore within the film as a complex set and in what way and to what extent these elements manage to make the film political. It is important to note that the main question of work - what is the relationship between politics and film and how it manifests politics in what we call political film - remains partly open because there is not just one definition of political film, nor a single way of manifesting political in film. Also, answering this question, the paper presents different opinions of film theorists in order to show the possibility of various approaches and views on the presented issues. First of all, speaking about the “being” of political film, it should be noted that this work does not take the “being” of political film as immutable and one-dimensional, but as plural, changeable; as a certain process that acquires its meaning and significance through various manifestations chosen by the authors, which largely depend on the context in which the film originates and from which the author comes. In addition to all the above, the work will also understand the political, ethical and aesthetical as elements that are an inseparable and fundamental part of any authorial poetics of the director.