This article analyzes Alfonso Cuarón's Children of Men as an illustrative contemporary example of cinematic cosmopolitan utopianism. Departing from the anti-utopian bias that pervaded modes of being, cultural texts and sociology in the late twentieth century, the film rearticulates utopia as a cosmopolitan method necessary to transform nonsustainable paradigms of progress and individualist worldviews. Against an apocalyptic eco-social backdrop, the evolution of the narrative and the protagonists conveys a stressed sense of directionality forward and elsewhere in search of hope. The film's use of spaces and formal choices argues against social exclusion and bigotry, prompting viewers to expand their utopian horizons outside the borders of the national. Daring to envision the end of dystopia, the film ultimately hopes for a cosmopolitan remapping of the global beyond the frameworks provided by anti-utopia, nation, risk and neoliberalism.