This chapter, depicting the personal in the political, comprises both the sociopsychological and the psychosocial impacts of the psycho-political formations of soft dictatorships. The Dog’s Night Song, a contemporary film by Gábor Bódy, captures the essence of the lived experiences of permanent liminality leading to the highest suicide rate globally in Hungary in 1984. Polyphony, as the (dis)organizing principle of the film, is intensified to the extremes. Boundaries dissolve, and the dissociative experience of trauma permeates the characters’ life-worlds. The analysis focusses on how the characters are struggling with the lifelong task of parrhesia, a compulsion to tell the truth in times of crisis, which could liberate them from the heavy burdens of a fake identity. They fail, due to the ultimate deteriorations in signs’ semiotic value. There are no words to tell the truth. The first show in 1983 was shortly followed by the auteur’s debated suicide in 1985.