This research explores the representation of social class in the film “The School for Good and Evil” through a semiotic analysis based on Roland Barthes’ theory. The study aims to uncover how visual signs such as costume, makeup, setting, gesture, and character design are used to construct ideological meanings of “Good” and “Evil” within the narrative. Using Barthes' concepts of denotation, connotation, and myth, this research analyzes 20 selected scenes that visually represent characters from both the Good and Evil sides. The findings reveal that the label “Good” is consistently associated with signs of wealth, beauty, refinement, and conformity, which connotes upper class femininity and moral superiority. Conversely, the “Evil” side is represented through dark tones, asymmetry, rebellion, and individualism, which connotes social deviance and emotional intensity. These signs do not merely reflect personal morality, but rather serve to reinforce social class structures and dominant ideologies about power, gender, and beauty. The study concludes that the binary of “Good” and “Evil” in the film is not a reflection of true ethical values, but a system of signs that constructs mythologies aligning morality with elite aesthetics and punishing those who deviate from social norms.