Episode three explores the mind of one of the most fanatical of all Nazis and the insight that gives into the psychology of dictatorship. Hess is brought to Nuremberg from the UK where he had flown 4 years earlier much to the bemusement of the British. Overy explains that they must have quickly realised he was not normal. In the intervening time Hess’s mental state has further deteriorated and when interviewed by Chief Interrogator Colonel John Amen proclaims amnesia. Chief Interpreter Richard Sonnenfeldt explains that they brought in Göring to confront Hess but that he too failed to make an impression.
Psychopathologist Prof. Edgar Jones proposes Hess’s behaviour patterns may be his way of escaping reality as he is forced to face the extent of the atrocities and choose between accepting his part of the blame or forsaking his Führer. However, as history Professor Robert Gellatel explains it is difficult to construct a case against Hess as he was imprisoned in England when the worst of the atrocities were carried out so British Prosecutor Mervyn Griffith-Jones must argue a conspiracy charge linking the pre-1939 persecutions to the post-1939 atrocities and a crimes against peace charge proving the flight to Scotland was merely a ruse.

The second episode tells the story of the trial of Hermann Goering, Hitler's charismatic and ruthless second-in-command. On trial for his life at Nuremberg, the unrepentant Reich Marshal turned the tables on the Allies. So much so that Chief Prosecutor Justice Robert Jackson began to wish the Allies had followed Churchill's suggestion and shot the leading Nazis out of hand. This documentary drama traces the behind-the-scenes story of Goering's attempt to re-ignite Nazism from the courtroom.

The five directors, John Ford, William Wyler, John Huston, Frank Capra, and George Stevens, return to Hollywood after the war but are forever haunted by what they saw. Ford goes on a drinking bender after filming the carnage at D-Day. Stevens is wholly unprepared for the horrors of Dachau and realizes he is not there to film propaganda but to capture evidence of crimes against humanity. Wyler, who lost his hearing during the war, fears his career is over. Huston chronicles soldiers suffering from postraumatic stress disorder in the film Let There Be Light, only to have it suppressed by the U.S. government.

In the second episode, the directors learn their vision for the films is not always permissible by the U.S. government. Wyler is shocked by the racism he encounters against African American soldiers and refused to make a film recruiting black soldiers. Meanwhile, the films' racist depiction of the Japanese versus human depiction of the Germans causes worry for the War Department, which at that time planned to redistribute the Japanese-American population from internment camps into towns across the United States.

The wartime contributions of five prominent Hollywood film directors during World War II are profiled. The documentary focuses on five directors – John Ford, William Wyler, John Huston, Frank Capra, and George Stevens – whose war-related works are analysed by modern filmmakers, respectively Paul Greengrass, Steven Spielberg, Francis Ford Coppola, Guillermo del Toro, and Lawrence Kasdan. In the first episode, John Ford's The Battle of Midway was approved directly by President Franklin D. Roosevelt while Frank Capra fights to get Why We Fight made.

Japan's role in World War II gets a whole new perspective in this consisting entirely of full colour footage, including colour films from Japan that were recently discovered. As the visuals of the world war take on a new vivid immediateness, the story of the rise of the militarists in Japan is told through the personal writings of the Japanese themselves. From the first overconfident tastes of victory, to the devastating losses that led to an unthinkable defeat amidst the ruins, the Pacific Theater of World War II is told through the Japanese's eyes.