The contemporary environmental crisis is no longer confined to the degradation of nature or the disruption of ecological systems; it has also become a crisis in the perception and imagination of the future. Accordingly, understanding the relationship between sustainability, cultural representation, and future-oriented imagination has gained increasing significance in art and media studies. This study aims to explain how the future is configured through the interplay of ecological unsustainability, ecocinematic representation, and dystopian futurity. It addresses the following research question: How is the future constructed in the animated film WALL·E through the relationship between ecological unsustainability, ecocinematic representation, and dystopian futurity? The study adopts a qualitative approach based on an interpretive reading of the film text and employs directed qualitative content analysis. Within this analytical process, meaning is sought not in isolated cinematic elements but in the relationships among these three dimensions. The findings indicate that WALL·E represents the future neither as a completely closed horizon nor as an unequivocally redemptive vision, but rather as a suspended, conditional, and vulnerable possibility. The desolated Earth, the accumulation of waste, technological mediation, and the film’s slow narrative rhythm collectively construct an experience of a fragile future exposed to gradual erosion. Based on these findings, the concept of “Futures at Risk” is proposed as an analytical framework for explaining how the future is constituted at the intersection of ecological unsustainability, cultural representation, and dystopian futurity. This framework extends the analysis of environmental crisis beyond describing the consequences of ecological degradation by examining the conditions that shape the possibility—or suspension—of the future. Moreover, it offers a transferable analytical framework for the study of other future-oriented audiovisual narratives.