As for the existential trauma of disenfranchisement and anomie, one look at Jerzy Skolimowskis 1982 Moonlighting shows up the scene in which Hanks runs heartbroken from monitor to monitor watching news broadcasts of his countrys collapse.
The metaphor, later picked up by Spielberg in The Terminal, is enriched stunningly by Skolimowski�s humorous detailing: A security camera bleeps over a supermarket floor like a porcupine satellite, characters vent their frustrations by taking pick-axes to walls but the house fights back with faulty wires and exploding pipes.