There is nothing objective about The Sixth Side of the Pentagon; Marker and co-creator Francois Rechenbach pick the side of the leftists. The narration unfolds as if it was cribbed from Marxist samzidat. The tense footage of confrontations between war protesters, blue-jean jacketed Nazis, veterans, and clergy are jarring, recalling a time not so long ago. When the protesting throngs actually attempt to rush the Pentagon, they are beaten by the military police in a chaotic scramble. The strength of this work is undeniable, regardless of how one reads the politics. The events are rooted in a moment where competing forces were fighting over who would define the social and political direction of the United States. The adrenaline, the emotions and the violence presented in The Sixth Side of the Pentagon are all real, and it does not take a political wonk to see the parallels between the events portrayed here and those taking place in the world right now.

The Embassy resembles La Jetée both stylistically and thematically. The film presents a group of refugees who flee to an embassy after a coup d’état. The film's point-of-view is that of one of the refugees: a journalist with a Super 8 camera. His narration glues together the images, which mix the mundane with flashes of excitement and tension (a refugee is shown running towards the embassy but is cut down in the streets). Once the new regime is established, the once-dormant television comes to life with state news broadcasts urging calm and confidence. The underlying ideas place the film squarely within the realm of politically-inspired science-fiction: a fictional version of reality is presented, which is unraveled to reveal a larger truth about the real world. Where the film ends up is not necessarily a surprise but the film's immediacy and directness foreshadows decades of documentary-style cinematic realism that would follow.