In this article the two movies The Lizard (2004) (Marmulak), and Guidance Patrol (2012) (Gasht-e Ershad) will be investigated by using a blend of John Fiske’s approach of Active Resistance and a particular interpretation of Umberto Eco’s concept of Semiological Guerrilla Warfare. In authoritarian societies, certain signs possess some form of social and political sanctity, which block direct criticism of them. Since direct criticism is proved to be ineffective, then a guerilla war takes shape over the appropriation of signs. In these two movies, alternative signs are created to make possible the critique of the original signs of clerics and the morality police institution. On the surface, what the alternative sign does seems to be unrelated to the original sign; however, through two types of resistance, we realize that from the outset the critique has been based on the original sign: one is hidden resistance, which is an indicator of the resistance of the characters within the film who take the alternative sign as the original; the other is through an overt resistance, which belongs to the audience who decode these films in alignment with the aforementioned characters.