Halfway through Bernardo Bertolucci’s The Conformist (Il Conformista 1970) the protagonist, Marcello Clerici, visits the Parisian home of his former teacher, Professor Quadri. After entering his study, Clerici recounts Quadri’s lectures on Plato’s allegory of the Cave. In what follows, Bertolucci presents us with an explicit visualisation of Plato’s Cave. In the paper that accompanies this video-essay, I argue that Bertolucci’s inclusion of the pivotal “cave scene” sets up an analogy between Plato’s Cave and Mussolini’s Italy, which is reinforced throughout the film by various visual elements. Furthermore, I show how Bertolucci’s use of light and shadow, as well as a motif of blindness and sight, function to emphasise the Platonic distinction between truth and error, as well as the relationship that each of the main characters has to these states. I also claim that the complex narrative structure of the film functions to mirror both Clerici’s epistemic state and the journey of Plato’s philosopher, allowing the spectator to identify with both. Finally, I conclude that by identifying the source of liberating knowledge as knowledge of the self, rather than the abstract Forms, The Conformist does not merely illustrate Plato’s original thought experiment but adapts it and, as such, makes a valuable contribution to philosophy.