This work investigates, through the analysis of the film A Margem (1967), directed and scripted by Ozualdo Candeias, a filmmaker linked to the creative experience of Boca do Lixo, the sensibilities and images of the urban constructed by the work. In this way, it is sought to understand how the experience of marginality is figured by the cinematic universe and can guide our look at different experiences of the city. From the dialogue between cinema and historical knowledge, we intend to reflect on the problematic of modernity and the processes of modernization represented by the narrative, in the dialogue with the images of the urban and with the figure of the marginal who wanders along the borders of the metropolis. The film dialogues with the imaginary about the urban one, elaborated in the time in which it was conceived and also develops a singular point of view on the urban experience and its tensions, fissures and fragilities. At first, the film is understood from its dimension of artistic object, entangled in a web of relations, ranging from its context of production, including the relations with what would come to be called marginal cinema, until Its connections with other narratives of Cinema and Literature. In the second chapter, from the analysis of the sequences of the film, the sensibilities constructed by the work are pursued, constituted by a deep connection between melancholy, love and madness. The idea is to understand how these affections resize urban images and take us to conclude the allegorical dimension of the film. Lastly, in the third chapter, the analysis of the film is concluded, pointing out different visions of city that conform to the experience of the urban man, represented by the subject at the margin, lost between life and death, that wanders melancholically between a monstrous metropolis and a redemptive margin.