Abstract
The article thematically and structurally analyses a group of films usually designated as "gnostic films". These films share a common ideology as they postulate the existence of two worlds - one illusory and the other true.
The hero must escape the false world and reach the true one. As the majority of gnostic films appeared at the turn of the millennium, the article also suggests what contributed to the emergence of these films.
As the cosmology of the films bears a close similarity to the cosmology of conspiracy theories, the emergence of the films is shown to be a part of the sociocultural development of the conspiracist mindset entering the mainstream. In the 1990s, conspiracism was out of the closet and gained popularity, but it was not yet perceived as an imminent societal threat and therefore was not a taboo for Hollywood filmmakers.
The 1990s were also the decade of a unipolar world order where the absence of an inimical Other engendered anxiety about the system itself, which is reflected in the analysed films.