John Scalzi described Brazil as "dystopian satire" and that's a fitting description for Terry Gilliam's 1985 1984-esque film, though I think it could be argued that all dystopian fiction is a form of satire, since it is usually a vision of some aspect of current society ballooned to absurd and dangerous proportions. Brazil is the second film in Gilliam's "Trilogy of Imagination" -- along with Time Bandits and The Adventures of Baron Munchhausen -- focusing this time on the escapism of a middle aged Jonathan Pryce living in a dystopia (reminiscent of the vision of hell in Black Orpheus) of incompetent bureaucracy -- so incompetent in fact that acts of "terrorism" are just as likely mislabeled failures of infrastructure and "terrorists" suspects can be the result of printing errors.
It's brilliant and beautiful, if rather fatalistic. It was that fatalism that led to Gilliam's infamous duel with Universal. The studio itself released the so-called "Love Conquers All" cut with a much happier ending and nearly an hour less footage. Gilliam for his part debuted the film without Universal's approval in a college film-making "seminar" in Los Angeles that was open to film critics. Before it was even properly released to the public it had won Best Screenplay (and Gilliam Best Director) at the LA Film Critics Association Awards.