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 film takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.
The Pervert's Guide To Cinema offers an introduction into some of Zizek's most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. The film applies Zizek's ideas to the cinematic canon, in what The Times calls 'an extraordinary reassessment of cinema.'