The Fifth Horseman Is Fear () is a 1965 Czechoslovak film about the Holocaust that was directed by Zbyněk Brynych. Instead of depicting gas chambers and concentration camps, the film examines the subtler but equally debilitating mental effects of oppression. It gets its name from the story of the Four Horsemen of the Apocalypse written about in the Book of Revelation. The film uses expressionist cinematography, and its film score is set to discordant piano music. Plot Set in Prague during the German occupation of Czechoslovakia, the film follows Dr. Braun, a Jewish doctor forbidden to practice medicine. He instead works for German officials, cataloging confiscated Jewish property. All Braun wants to do is survive, but his pragmatic mentality is challenged when an injured resistance fighter stumbles into his apartment building. A quest for morphine leads Dr. Braun through his tortured city, where fear eats away at the social structure. Superficially, the city might appear to be normal, but hallucinations, awkward outbursts, and nervous, self-conscious behavior make it clear that society is falling apart. Although images of the Holocaust are never seen, its devastation is understood through an overarching sense of destitution and fear. As Dr. Braun travels through the seedy undergrounds of Prague and back up to his apartment building—where a long winding staircase connects the lives of all his eccentric neighbors—a wide variety of personalities are introduced to the screen, each of whom appears equally as tortured. With minimal dialogue and a creeping pace, the sense of impending doom never leaves the screen. Crying babies, heavy shadows and broken records set a consistent tone of nightmarish anxiety. Drawn frenetically from the dancehall, where beautiful young couples bob and empty Champagne glasses litter the tables, to the apartment building of a former piano teacher that is stacked high with sheet music and out onto the empty cobblestone streets, the audience is never allowed to feel at ease. The film is scored with discordant piano music and full of expressionist cinematography. At the beginning, the camera follows Dr. Braun through his work, where exaggerated shots lend themselves to symbolic interpretation. For example, in one scene, Dr. Braun stands silently in front of a wall full of ticking confiscated clocks. Clocks serve as a symbol for time; and the Jews who lost their clocks also had their time on Earth taken from them. Later, short choppy shots of the doctor's home