There are two ways to approach Jewish film and psychoanalysis. The first, an auteurist approach in keeping with much of Film Studies, is to explore how Jewish directors knowingly drew, as well as draw, on psychoanalytic concepts in their films. The second approach is to use psychoanalysis to understand and analyse the works along with their makers, namely how psychoanalysis helps us explore the director, and their films, regardless of their intentions. Both approaches will be applied here in a deep dive into one Jewish director – Stanley Kubrick (1926–99) – given his legendary and auteur status within postwar Hollywood Cinema and beyond. In so doing, this chapter aims to show how psychoanalysis may productively be used to analyse and illuminate Jewish film, widely defined.