On some level the operation of ideology in popular cinema is really simple. Almost all widely distributed movies are either capitalist or aristocratic fantasies. Each of these types comes in two flavours, idealistic and nihilistic. Take away these four kinds of movies and there isn’t much left over.
Aristocratic fantasies revolve around the idea that transcendence comes from superior might and/or virtue, which is granted by affiliation to the ‘traditional’ social order.
Capitalist fantasies revolve around the idea that transcendence comes from superior personal skill and/or willpower, which is granted by the unique individuality of a person.
In idealistic aristocratic fantasies the hero is usually a prince who goes through a Campbellian Hero’s Journey, who triumphs over his enemies by connecting with his princely lineage. The original Star Wars, for example. A variant involves the hero being lower class but accepting of their station, as in Die Hard, the Dirty Harry movies, etc.
In idealistic capitalist fantasies the hero is either usually either an intellectual entrepreneur or a moral entrepreneur who triumphs by connecting with his unique individuality, believing in himself, that sort of thing. See Pollock, The Imitation Game, and every other Hollywood movie about geniuses. See also Erin Brockovich and most of the movies about underdogs fighting social injustice.
In nihilistic aristocratic fantasies the hero cannot triumph or, more commonly, achieves only a Pyrrhic victory because evil is neverending. The Dark Knight is an example of this, along with Man of Steel, Batman v Superman, Suicide Squad. In general it’s a theme in “gritty and realistic” genre movies. Rogue One has a touch of this although its position in the overall Star Wars canon makes its narrative ultimately more idealistic than nihilistic.
In nihilistic capitalist fantasies the protagonist cannot achieve transcendence because they lack any special genius; for someone who is just a regular person, life presumably has no purpose or meaning. See Boyhood, along with a ton of other critically lauded quirky indie films.
These four types can overlap of course. The Coen brothers’ work, for example, mixes capitalist and aristocratic nihilism. The films of the Dark Knight Trilogy mix aristocratic idealism and nihilism to varying degrees. The Matrix mixes the idealisms of aristocratic ideology (Neo is superior by birth) and capitalism (Neo must Believe In Himself). And so on.
The point is that if you take away all movies that use at least one of these four themes as their emotional core, not much is left over.
And of course we could make the picture more complicated by layering in the operation of gender, race, and other forms of identity. Both conservative and capitalist fantasies tend to be male, white, heteronormative, cisgendered, ableist, and so on.
But the one thing you’re not going to see very often is a socialist fantasy. What would that even look like?