Here we see two backlit yellow scenes, one from The Curious Case of Benjamin Button, and the other from Children of Men.
Both cases communicate the negative properties of yellow: an uneasiness or dissatisfaction.
In Benjamin Button it is a monotone life with shadows into which his face cannot be seen -he does not know himself, only his paltry accommodations. This shot is soon juxtaposed by his leaving to see the world in cyan daylight.
In Childrenof Men, it is a frenetic unease in the face of cerebral antagonism. We quickly realize that he has a long established rapport with his kidnapper, and the light returns to normal for their more cordial conversation.