Hollywood has, of course, long been argued to possess a liberal bias. Whether there is any validity to such a claim is a matter that has been dealt with elsewhere and will no doubt continue to be debated. What is certainly true is that “Liberal” has meant different things in different times and the nature of the “Liberal film” has undergone fundamental changes. For the purposes of this discussion, I am most interested in the shift that has occurred in the Bush-era, post-invasion, hybridised Hollywood-indie-international milieu. At the heart of this shift is a reorientation vis-à-vis anger. Recent Liberal filmmaking reflects an extreme discomfort with anger; The Interpreter, 25th Hour, and The Constant Gardener provide just a few examples of this discomfort and of the Liberal cinema’s tensions and contradictions. How these tensions and contradictions are managed and expressed is largely a question of form, and within the recent Liberal narrative cinema, it becomes possible to identify a subset of films that together might be called a disorderly Liberal cinema.