The film industry has given us, these last twenty years an impressive amount of apocalyptic movies. These films cover all situations associated with the end of the world, from the first prophetic announcement of the end to post-apocalyptic worlds. The stories told range from traditional Apocalypses, where worlds are destroyed, to intimate apocalypses deployed in a limited and subjective mode, where the fate of a few human beings or of one individual condenses the destiny of mankind. Films such as Terence Malick’s The Tree of Life (2010) and Lars von Trier’s Melancholia (2011) are such intimate apocalypses. Although both films shy away from mainstream disaster movies, fundamental differences separate them. My aim here is to show some of these differences, which have to do with the way the films represent the end and define its limits. For, if The Tree of Life engages in a Christian imagination, where the end is seen in the context of a spiritual rebirth, suggesting that life continues after death, Melancholia commits to a resolutely atheist posture and claims rather, in a radical materialism, that all life ceases after death. These films engage in distinct apocalyptic imaginations, the first, a traditional imaginary, suffused with transcendence, the second, a contemporary imaginary, nihilistic in its stance.