Sigmund Freud's theory posits that the essence of content analysis lies in uncovering the unconscious perceptions or cognitions embedded within a text. This endeavor finds its academic grounding within the discipline of psychology of art, where the underlying goals, values, cultural influences, and tendencies of creators or creations are scrutinized. Particularly within the cinematic domain, filmmakers are tasked with unraveling the intricacies of conveying meanings and messages through the nuanced language of cinema. In the latter half of the 20th century, content analysis has risen to prominence as a predominant research approach in both psychology and art studies. This study endeavors to apply qualitative content analysis (QCA) to the realm of cinema. Drawing upon Freud's psychoanalytic theory, specifically emphasizing the concept of personality, the research focuses on three seminal films by Alfred Hitchcock (Rope, Psycho, and Vertigo). Freud's theoretical framework is chosen for its influence on character development in cinema and its pioneering contributions to psychoanalysis, particularly in symbolism and personality theory. The selection of Hitchcock's films for case studies is deliberate, as they aptly showcase the centrality of character and delve into profound psychological dimensions. Personality emerges as the linchpin concept, seamlessly bridging Freud's psychoanalytic theory with the narrative intricacies of Hitchcock's films. The research methodology employs a non-random sampling strategy, guided by thematic and narrative proximity, alongside analytical indicators derived from Freud's theoretical constructs. The research methodology encompasses various analytical components, including analysis units, meaning units, content areas, and analytical categories. These components are meticulously selected through an exploratory approach, leveraging both traditional library resources and contemporary audio-visual materials. The findings of the study underscore a multifaceted analysis, encompassing the exploration of latent content, identification of primary characters, delineation of meaningful narrative sequences, and elucidation of primary thematic elements, notably instincts and anxiety. This approach ensures a deep and thorough understanding of the material. Furthermore, the research delineates two core content areas within Freud's theoretical framework: personality structure and personality levels. These delineations serve to deepen our understanding of the interplay between psychoanalytic theory and cinematic narrative, offering valuable insights into the rich tapestry of human experience depicted on the silver screen. The division of research results into descriptive and inferential parts adds another layer of depth. Based on this, the meaning units, which represent the primary scenes featuring the main characters, account for 18.42 minutes (72.52%) of the entire film in Rope, 49.59 minutes (49.45%) in Psycho, and 102.08 minutes (79.75%) in Vertigo. Therefore, the main character's presence as a meaning unit is most prominent in the film Vertigo. In short, this includes introducing main characters and analyzing how often they appear in the film, which helps analyze the content. The main themes found in analyzing these films are instincts, including themes of life and death, and anxiety, which includes real, emotional, and moral aspects. By incorporating these diverse elements, the research provides a holistic view of the psychological underpinnings in Hitchcock's works, offering a profound understanding of the characters' motivations and the films' overarching themes.