This article presents a comparative analysis of the collapse of meaning and the transformation of language into mechanisms of domination and, simultaneously, sites of resistance in the Russian animated film Ku! Kin dza dza (2013), in relation to Sadegh Hedayat’s The Blind Owl and George Orwell’s 1984. The study employs a qualitative interpretive methodology grounded in semiotic analysis, cultural discourse analysis, and comparative readings of narrative structures, selected scenes, and linguistic systems. The theoretical framework integrates Wittgenstein’s concept of language games, which understands language as social action embedded in forms of life; Bakhtin’s theories of dialogism, polyphony, and carnivalesque humor as strategies against monologic languages of power; and Lotman’s semiosphere theory, emphasizing center–periphery dynamics, borders, and untranslatability. The findings reveal that in all three works, centralized and official languages—whether the radically reduced vocabulary of planet Plyuk, Orwellian Newspeak, or the repetitive and enclosed narrative discourse of The Blind Owl—operate as ideological instruments of control. In contrast, meaning emerges within marginal spaces, silences, carnivalesque humor, polyphonic voices, and moments where translation fails. The results further indicate that in Ku! Kin dza dza, meaning is not produced within the official language of the center but is continually re generated through peripheral zones, linguistic gaps, and alternative language games. Humor functions simultaneously as a mechanism of de signification and as a producer of critical meaning. Despite their historical and cultural differences, these works collectively portray a convergent image of the modern crisis of meaning and the limited yet persistent potential for linguistic resistance.