One central issue that has been a subject of controversy among philosophers is unreliable narration.  There are films in which the audience comes to see that the character narrator of the film has a limited or misguided view of the film world.  One example is Max Ophuls' Letter from an Unknown Woman (1948), a film that has been discussed by a number of different philosophers.  The majority of the film is a voice-over narration by Lisa Berndle, the unknown woman of the film's title, who recites the words of the letter she sends to her lover, Max Brand, shortly before her death.  The audience comes to see that Lisa has a distorted view of the events she narrates, most clearly in her misestimation of the character of Brand.  This raises the question of how the audience can come to know that Lisa's view is distorted, since what we hear and see is narrated (or shown) by her. George Wilson (1986) has argued that unreliable narratives such as this require the positing of an implicit narrator of the film, while Gregory Currie (1995) has argued that an implied filmmaker suffices. This question has become very relevant with the increased popularity of filmmaking styles involving unreliable narration.  Bryan Singer's The Usual Suspects (1995) touched off a flurry of films whose narrators were unreliable in one way or another.