The main argument of 'Future Almost Lost' is, finally, as the title says, that the future is not lost, but with a big footnote of 'yet'. A big part of the argument is that dystopian sci-fi films can provide maneuvering to the outside (the future is always 'outside' of Now) of present ideological dead-locks, opening up new possibilities for the societies they are supposed to reflect. In addition to this, dystopian sci-fi, 'affective' audiovisuals, its argued, submerge the viewer more profoundly in the dystopian world than any underpinning thematic devices; which may be why so many dystopian films have a low degree of characterization, with characters that usually mostly talk in witticisms, while the surrounding environment is often very detailed and interesting. In connection to this, this audio-visual submersion can open up the 'body' to 'intensities' that have 'biopolitical' and ethical implications contained within themselves. Since dystopian are almost always located somewhere in the future, its argued that these openings of potential in the viewer offer ways out of the impasses of the present, to circumvent or prevent the dystopian future from happening. One aspect of this discussed in the final section relating to what aliens and the alien voice mean in film, i.e., by the generation of radically new or 'radically alternative' affects, dystopian sic-fi film, even if it is obscene and horrifying, opens the viewer up to new ways of feeling and seeing, or even opens the viewer up to be as a 'body without organs', displacing the viewer into a 'counter-hegemonic' space where there is potential to be 'born again into/through sensation'.
