From 1984 to The Matrix: Gervasini Explores the Dark Future of Dystopian Cinema

Analysis of the Book Se continua così: Cinema e fantascienza distopica by Mauro Gervasini on Dystopian Cinema and Science Fiction

Following our exploration of What Is Cinema? by André Bazin, we now turn to a book that delves into a modern genre—Dystopian Cinema, particularly in its sci-fi form. This genre has evolved significantly, and Gervasini’s study sheds light on how dystopian narratives in film reflect the changing concerns of society.
 

At its core, Dystopian Cinema depicts future-oriented societies marked by authoritarianism, collapse, or severe inequality. Dystopias stand in opposition to utopias: while utopias offer idealized visions of the future, dystopias portray nightmarish alternatives that protagonists seek to escape.

Yet, Gervasini argues that dystopia and utopia are not opposites but points on the same spectrum. Many dystopian films explore societies built not by villains, but by well-intentioned visionaries. For example, in The Circle (based on Dave Eggers’s novel), the dream of total transparency evolves into oppressive surveillance. Similarly, in Fahrenheit 451, firemen burn books not to censor ideas but to erase emotional suffering. In The Handmaid’s Tale, the ruling class sees itself as morally righteous.

Gervasini draws parallels with real-world scenarios, such as the restrictions during the COVID-19 pandemic, to illustrate how public safety measures can mirror mechanisms seen in dystopian cinema—though not leading to full dystopias, they reveal similar dynamics of control and sacrifice of liberty.

Categories of Dystopian Cinema Narratives in Film

The book organizes dystopian cinema into five major subgenres, each illustrated with key examples:

1. Political Dystopian Cinema

We (Zamyatin): The origin of dystopian aesthetics—transparent houses for surveillance.

1984 (Orwell): Sexual repression, forced confessions, and “doublethink.” The film uses bleach bypass for a grim aesthetic.

V for Vendetta: A dystopian regime post-9/11; a battle between freedom and security.

The Purge: Legalized violence night—critiquing class divisions, echoing Orwell's “Hate Week.”

They Live: Not strictly dystopian but critiques subliminal messaging and Reagan-era politics.

Rollerball: Corporate rule, violence as entertainment, and controlled history.

Gattaca: Genetic control in a neoliberal, socially Darwinist society—minimalist, retrofuturistic visuals.

2. Post-Atomic Dystopian Cinema

Reflecting Cold War fears of nuclear apocalypse, these films are staples of dystopian cinema:

On the Beach, The Day After, Dr. Strangelove: Depict global annihilation anxiety.

Mad Max series: Depicts societal collapse, chaos, and environmental degradation—Fury Road adds strong class critique.

3. Epidemiological / Viral Dystopian Cinema

A rising theme in dystopian films, especially post-pandemic:

28 Days Later, 28 Weeks Later: Virus-driven dystopia focusing on survival and humanity.

The Omega Man: A post-biowar world filled with mutant survivors—based on I Am Legend.

4. Ecological Dystopian Cinema

Environmental degradation plays a central role in this branch of dystopian cinema:

Soylent Green: Scarcity, pollution, and corporate corruption—resource-based dystopia.

Snowpiercer: Class division on a perpetual train in an artificial Ice Age—a stark metaphor for global inequality.

5. Technological / Cyberpunk Dystopia

Cyberpunk is a dominant force in dystopian cinema, blending rebellion and cybernetics:

Neuromancer (novel): The blueprint for post-human and virtual reality themes.

Blade Runner & Blade Runner 2049: Identity, AI, and human memory in a visually rich dystopia.

Strange Days: A device records memories; themes of racial violence and voyeurism.

The Matrix: Humans trapped in simulated reality; mixes pop culture, philosophy, and digital aesthetics.

Westworld (original): Robotic rebellion in a theme park; early digital processing used.

Ready Player One: VR world (OASIS) dominates life in 2045; critiques corporate control.

eXistenZ: Biotech and body fusion; blurred lines between simulation and reality.

Akira: Anime-style dystopia featuring authoritarianism, mutation, and social decay.

Cinematic Tools in Dystopian Representation

Gervasini stresses how dystopian cinema uses design and technology to create convincing worlds. Elements like set design, costume, lighting, VFX (from Terminator’s stop-motion to modern CGI), and cinematography (e.g., long takes, subjective shots) are central to evoking the genre’s atmosphere.

Conclusion: Dystopian Cinema as a Mirror of Modern Anxieties

The book concludes by asserting that dystopian cinema reflects political, ecological, and technological fears. It doesn’t merely depict bleak futures—it holds up a mirror to our present, where noble intentions can spiral into authoritarian realities.

Gervasini suggests that dystopian cinema is becoming a distinctly American genre, much like Westerns or film noir, due to its deep ties to technological themes. This insight opens new avenues for scholars of genre theory and American cinema alike.