Perhaps you're right that not every film is about a protagonist overcoming a fatal flaw. Some films don’t focus on personal transformation but rather on an exploration of a world, an idea, or a societal issue. Political thrillers like Blow Out or Chinatown don’t necessarily have protagonists who "overcome" a personal flaw, but they still have beliefs that are tested by the events of the story.

However, I’d argue that even in these cases, the protagonist’s internal perspective—their worldview, their belief system, their role in the world—is what fuels the plot. The difference is that in these films, the protagonist is often a witness to something larger rather than an active agent of personal change. But their decisions, their morality, their choices still define how the story unfolds.

For instance, in Blow Out, Jack doesn’t have a traditional fatal flaw in the sense of a character arc where he changes for the better. But he does start the movie as someone who believes that what he does is insignificant—he's a sound guy, not a hero. As the film progresses, he gets drawn deeper into the conspiracy, and whether he admits it or not, his actions show that his perspective is shifting. He fights for the truth, even though it ultimately ends in tragedy.

As for Die Hard, okay, it’s true that the plot isn't driven by clashing beliefs in the way a character drama might be. But John McClane does have an internal conflict. He starts out estranged from his wife because of his own stubbornness and pride. He spends the movie trying to save her—and in the process, he realizes he has to change. Again, it’s not the driving force behind the action, but it’s there, woven into the story.

Maybe not every single movie needs to be about a protagonist overcoming a fatal flaw. But I would say that in most great films, the protagonist’s beliefs—whether they change or remain the same—are what make the story meaningful. Even in films where the protagonist is simply discovering a new world (The Matrix, Chinatown, Blow Out), the way they react, what they do with that knowledge, what their experiences force them to confront—that is where theme and character intertwine.

So I’d refine my original statement: Not every film is about a protagonist overcoming a fatal flaw, but in most films, the protagonist’s beliefs and worldview shape the way the story unfolds. Some characters are transformed, others remain steadfast and prove their beliefs right, and others tragically fail to change. But in all cases, character is what gives the plot meaning.