This article explores representations of mental illness in popular film, especially Richard Ayoade’s The Double and Dan Gilroy’s Nightcrawler. It asserts that both films trouble typical Hollywood narratives of mental illness by situating schizophrenia and psychopathy, for instance, within a socioeconomic context, specifically relations of production under late capitalism and the unfettered self-interest of neoliberalism. If mental illness is a product of the postindustrial workplace in The Double, it becomes a prerequisite for success in Nightcrawler, supplying a cinematic depiction of mental illness at odds with the “personal pathology” paradigm that dominates the current neoliberal landscape.