From global political cacophony to record-breakingly grim milestones in climate change, to the sharpest increase in U.S. murders since 1971 (due in no small part to police brutality against black men), 2016 has been a year rife with tumult and tinged, some may contend, with a tenor of the edge-of-the-apocalypse. As the year draws to a close, Dystopia on Our Doorstep (DOOD) contemplates the proximity of the dystopian future typically seen in science fiction to daily experiences with the digital deluges, ruptured nation-states and harsh environmental conditions (both climate and economic) in many modern lives. Each DOOD film delves into a distinct facet of dystopia: singularity and self-delusion in the snapchat era (Uncle Kent 2), the surreal conditions of post-apocalyptic romance in Ethiopia (Crumbs), the ruinous beauty of hidden places scattered across the world, already abandoned by humans (Homo Sapiens), the postmodern proletariat struggle of a pig and his pals (Babe: Pig in the City), and surveillance and conspiracy brewing deep in the remote forests of Maine (For the Plasma).