I've chosen climactic scenes from two films, "Capturing Mary," 2007, written and directed by Stephen Poliakoff, and "Tully," 2018, written by Diablo Cody and directed by Jason Reitman. I think each film in its unique execution brought together very imaginative, innovative artists who created compelling stories. Yet, in Capturing Mary the climax contained, for the main character, a profound recognition of discovery from the conflicting rising action, whereas, in Tully, the climax stated the conflict that was already known to the main character, and therefore, instead of a dynamic climax, a static climax ignored that non-repetitive forward movement is the essence of dramatic action.
The climax in Capturing Mary takes place over several scenes. The clip below is the apex of the climax where the main character, performed by Maggie Smith, through recounting and reliving her experience, comes to the realization that although throughout her adult life she was certain that a particular man had power, control, had manipulated how she conducted her life -- in fact, she had given him, permitted him, that power.
In the clip from Tully (below), the main character, performed by Charlize Theron, comes to terms with her subconscious self: a good mother practices self-care, showers every day, gets a pedicure once in a while, and concludes that she'll "do what you have to do and then you'll do it again." That is, the marriage, as it's lived, and caring for children, none of which is undesirable, must nevertheless abandon that self prior to marriage, that free spirit she once was, because if she would pursue that self she was before becoming a wife and mother, she could die from it.