Compared to the number of films devoted to nuclear war, the catastrophic nuclear accident never acquired its own cinematic genre. Disaster films about civilian nuclear accidents would seem perfectly poised to serve that function to nuclear power as a technology emblematic of recent neoliberal politics. This chapter examines three films in order to explore this hypothesis about the confluence of gothic representations and neoliberal politics within the realm of nuclear power. The films discussed include Gregor Schnitzler's Die Wolke, Andreas Prochaska's Der erste Tag, and Volker Sattel's Unter Kontrolle that that deal with nuclear power in the European context and from a uniquely German perspective. Die Wolke and Der erste Tag project the abolition of nuclear power into an imaginary future, either as the democratically desired result of the lesson learned from history or as the inevitable outcome of economic and political strictures.