Toward Post-Truth Era

<jats:p>Films crystallize the zeitgeist and drive cinematic evolution, enabling directors to shape paradigms. Analyzing Pakula's Parallax View (1974), Schlöndorff &amp; von Trotta's Katharina Blum (1975), and Antonioni's Passenger (1975) reveals their prophetic relevance. In the Post-Truth Era, the journalist in Parallax View embodies a futile struggle for truth within a system built on suppression. Katharina Blum depicts defamation as a lethal social engineering tactic; today, with routine character assassination, its tragedy is magnified, proving how easily narrative destroys individuals. The Passenger offers an existential portrait of postmodern uncertainty—identity swap signifies a dissolution of self and mission, mirroring modern anxieties. Collectively, these films transcend their 1970s context, functioning as urgent predictions of informational chaos and journalistic erosion.</jats:p>