Abstract:  As Lacan’s “contemporary successor”, Zizek, in the face of a more stable capitalist ideology, made strong criticism with a force of negation based on Lacan’s later theory of the subject as the Real. In Zizek’s film criticism we can find various terminologies referring to the Real (such as the object “a”, the Thing and symptom), which not only mark the profundity of film texts, but also indicate unique logic and way of thinking. Zizek advanced from Hegel’s external dialectics of mutual recognition of master and servant to Lacan’s internal negative dialectics, showing the power of his intellectual wits. However, as a narrative with complete structure, film has its own basic structure based on daily experience of causality. Profundity is not necessarily the only standard of film art, nor is the case that the deeper film criticisms reveal the the meaning of film texts, the better they become. In this sense, although the Real is of great significance to Lacan and Zizek’s theoretical researches, its importance to film and its criticism is worthy of reflection.

Key words: film criticism, the Real, profundity, negative connotation, way of thinking