This study analyzes Christopher Nolan's Oppenheimer (2023) to examine how mise-en-scène visually externalizes the protagonist's psychological deterioration following the development of the atomic bomb. The film presents psychological conflict not only through dialogue and narrative, but through visual form which particularly color, shot, setting, and staging. Two theoretical frameworks are used in this analysis, which are Formalist Film Theory, which treats cinematic elements as deliberate constructors of psychological meaning, and Repetition Compulsion Theory, which explains how unresolved trauma resurfaces through hallucinations, emotional disturbance, and paranoia. Oppenheimer experiences moral anxiety after hearing the news of the bomb being dropped in Nagasaki and Hiroshima. His moral anxiety is represented through visual isolation and contrasting framing. His anxiety escalates to post-trauma as he experiences hallucinations as seen in the distorted colors, and fragmented visual flow. As his anxiety becomes more extreme, he experiences paranoia portrayed through confined settings, over-the-shoulder shots, and close-up framing that signify his psychological collapse. These findings conclude that mise-en-scène functions as a cinematic strategy that transforms Oppenheimer's internal emotional experience into visible, structured expression. Nolan's visual choices ultimately serve as the primary means through which the film communicates moral injury.