A more contemporary interpretation of the subconscious into cinema can be seen in Terry Gilliam’s 1985 film Brazil.  The movie revolves around Sam Lowery who lives in a Machine-Age-Totalitarian society where he is an unambitious and humble government worker who’s only escape from his brainwashing world is through his dreams.  The movie darts back and forth from Sam’s reality to his dream sequence until by the end of the movie the two seem to meld into each other.  The movie illustrates a relationship of the human psyche and the built world that is reciprocal.  Sam acts passively within his society, but it isn’t until he begins to take action and responsibility for his life that his ‘dream world’ becomes part of his ‘real world’.  

In the movie, Sam Lowery’s environment becomes a complete manifestation and representation of his psyche.  Sam’s subconscious is repressed at the beginnings of the movie.   The Machine-Age society Sam belongs to is quiet in contrast to the world he has created for himself.  The environments within the movie are quite manic. The Machine World depicted in the movie is one of Vanity, Status, Control and Paranoia. In his mothers apartment there are excessive amounts of mirrors and ornamentation. Sam’s work environment is dark and has various forms of transparent materials and television sets that instigate a feeling of observation, (glass walls of offices, television surveillance systems, magnifying glasses).  The posters within the city are of two types, 1) propaganda towards an ‘idealized society’ created by the totalitarian government, and 2) signs relating to paranoia, often found in work environments.  All of the ‘guts of the building’ are exposed in all of these environments as well.