The Third Man does not fill its characters or locale with romance, as it instead chooses to present the realities of post-war Europe to a character and an audience that do not wish to see them.
Melancholia gives its audience a compact and human perspective on total bleakness, and because of this the ultimate tragedy that is the complete end of the world is made to be perfectly comprehendible.
Contagion displays an unwavering faith in the system that ultimately solves the film’s respective crisis, and it evidences to its audience that they should do the same.
Only Lovers Left Alive examines and uncertain period of history through the eyes of those that have seen it all, and though it offers a variety of viewpoints, its concluding thesis is unmistakably bleak.
Mad Max: Fury Road takes aim at the cultures of tribalism, misogyny, and commodification, and it is able to do so effectively because it examines these practices through the lenses of those that have been a victim to them.
Nazis were and are human beings, and by portraying them as nothing more than simple stereotypes the films that do so encourage a forgetfulness of the evil that can be committed by our species.
Beginning in the catacombs in Rome, John soon departs from this realm of the physically dead to one that is much less straightforward. Beyond this point he faces many demons of his own creation, brought on by a lifetime of the sins that he has committed.
Cabaret treats the Nazis as it interprets much of Germany and the rest of the world to have handled the Nazis at the time, as they are treated as simply another rising power, but not one that should be considered exceptional or particularly dangerous.
It cannot be argued that technology has not fundamentally altered the characters of Ghost in the Shell physically, that much is visually apparent, but what the film argues is that the same technology has changed and is changing the very essence of the existence that makes up these characters.