Abstract
Based on the reception of four Brazilian films, the article tries to identify imaginations about the city of Rio de Janeiro through a dystopian lens typical of our day. The comparative analysis involves “critical-cinematographic” practices that conceive a sociocritical reading assuming that social elements are found in the works themselves, and are also external to them. The criticism of the following films will be verified: Rio fantasia [Rio Fantasy] (1957), by Watson Macedo, and Rio, 40 graus [Rio, 40 degrees] (1955), by Nelson Pereira dos Santos; Rio, verão & amor [Rio, summer & love] (1966) and El Justicero [The Punisher] (1967), of the same directors, consecutively. The documents will highlight dystopian aspects both in the works and in their readings, as well as in the social configurations of the time in a temporal relationship with Brazil today
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