Stockholm syndrome motif appears in several films from various genres, including the romance film, 365 dni (2020). The film uses the concept of the captor-captive bond that is prominent in Stockholm syndrome to establish the romance between the main protagonists. My interpretation is that the motif of Stockholm syndrome in this film works to conceal as well as reflect the imbalanced power dynamics between a male captor and a female captive under the patriarchal ideology. The imbalanced gender power dynamics between Massimo, the captor, and Laura, the film’s heroine, lie in the nature of their relationship since the beginning of the abduction. Massimo and Laura’s gender dynamics as male and female under the patriarchal ideology further lessen Laura’s agency in the power dynamics of their relationship. Hence, she is subjected to the intersecting oppressions as a female hostage under her hostage-taker’s male authority. Laura’s agency and power in the relationship are so limited that she has to negotiate her power and secure what remains of her agency by cooperating with Massimo to avoid any possible violence that might be inflicted upon her body, particularly on sexual aspects. To cope with the stress of the situation, Laura’s mind develops Stockholm syndrome, a psychological response that allows her to sympathise with Massimo, making it easier for her to cooperate with her kidnapper and enabling her to live with it. The condition is so romanticised in the film that her feelings become what can be perceived as “love”. Her “love” for Massimo is what justifies and romanticises their imbalanced relationship in the film. If Laura had not returned Massimo’s feelings, the movie would have been anything but a romance.