In recent years, Cuban cinema has developed a significant body of films that critically examine the effects of post-utopian disenchantment. This article analyzes eight films that, through diverse aesthetic and narrative strategies, construct dystopian imaginaries linked to the failure of revolutionary promises and the transformation of collective identity. The study examines the narrative, visual, and sound forms of these works and their relationship to Cuba’s sociopolitical context between in the 21st century. Drawing on a framework that combines global theoretical approaches (M. Keith Booker, Gregory Claeys, Tom Moylan, and Andrew Milner) with readings rooted in the Cuban context (Duanel Díaz Infante, Odette Casamayor-Cisneros, Desiré Díaz, and Delia García Muñoz), the article proposes an interpretation of these dystopias as spaces of sociopolitical critique, symbolic mourning, and affective reconfiguration of Cubanness (Rob Stone and Dunja Fehimović). The film analysis is intertwined with a reflection on the formal devices that contribute to constructing a new imaginary, in which national identity is shaped not by a rigid concept of citizenship but through everyday practices and forms of symbolic resistance (Guillermina de Ferrari). These works do not simply envision bleak futures; rather, they reflect on the present from the ruins of the utopian dream, sketching new forms of subjectivity and memory in a country suspended between the disillusionment of the past and the uncertainty of what lies ahead.
