In the film Sans Soliel, Chris Marker challenges received wisdoms with regard cinematic production of real worlds and real people. In Marker’s techniques, Jacques Rancière observes an intensely political, highly accessible, art form that leads to a theorisation of cinema for its democratic and educational functions. In this paper we take up Rancière’s interest in the democratic and educational functions of cinema through a reading of three films: Sans Soliel, Minority Report, and After Yang. Marker’s essayist cinema produces an uncanny experience of anthropological irony, and a mode of rethinking imperialism, revealing stories of communities that typically do not get told. Spielberg’s film adaptation of Philip K. Dick’s story is a cautionary contemplation on the ethics of the future of a police force that has access to visions of the future. Kogonada’s poetic lens muses on what it is to be human, what it is to be a family, and what it is to be a child and a parent negotiating complexity, loss, and identity. Each film is of interest here for the openness with which they engage thinking about democracy and education. They are democratic and educational precisely because they do not tell us what to think about democracy and education. Each film at the same time provides insight into Rancière’s thinking about the functions of cinema in producing senses of politics.