Metropolis, unlike the world of 1984, conceals this ethical hollowness under its foundations, and it is this hidden injustice that pushes us to fear the unseen corruption of the systems within our society—feeding into an already prevalent state of paranoia. Terry Gilliam’s Brazil depicts a paranoid oppressive state that stifles the freedoms of its people indirectly.  Individuals that resist are expeditiously silenced, and the masses are conditioned to distrust everyone.