Orson Welles’s "The Trial" joins a group of dystopian stories that includes Kafka's novel of the same name, George Orwell's "1984," and Terry Gilliam’s “Brazil,” all examining how institutions strip people of their humanity and the senselessness of authority. At first glance, the film highlights bureaucratic absurdity and an unreachable legal system. However, it delves into something more unsettling: a condition of feeling guilty even when one has done nothing wrong—an existential state where individuals take responsibility for things beyond their control. Josef K (played by Anthony Hopkins) isn't simply someone being targeted by a confusing system; he’s also unknowingly contributing to his own mental downfall. Welles implies that guilt doesn’t come from outside, but is something people create within themselves, blaming themselves for bad luck. This psychological tendency reflects larger historical events. Like Kafka’s writing before the Nazis came to power, Welles reveals how a vague sense of internalized guilt can allow oppressive systems to exist. The accusation remains nameless, and becomes a reflection: "Maybe I am deserving of this," people might think, which then helps them accept being pushed aside. Stories involving religion—from Eve's original sin to cultural myths about personal fault—have long shaped this psychological response. People carry good luck charms, they apologize for experiencing misfortune, and internalize blame as a way of trying to feel like they have some control. Both "The Trial" and “Brazil” use visual elements to show this psychological oppression. Welles’s stark, expressionistic scenery and Gilliam's bizarre, mechanical settings aren’t just decorations; they represent what’s happening inside people’s minds. The complicated bureaucracies become symbols of how the human mind can punish itself, where confusing architecture mirrors being trapped psychologically. Welles and Gilliam both understand that oppressive systems don’t come from outside forces, but are developed internally. Josef K and Sam Lowry aren't just victims; they unintentionally build their own psychological prisons. The surreal, dreamlike visual style perfectly conveys this inner world of “guiltless guilt”—where the strongest restraints are the ones people create for themselves. "The Trial" isn’t really about justice; it’s a deep look at how humans mentally prepare for and take part in their own oppression.

Source on TMDB