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filmmaker, after which one to three films are selected for a more in-depth analysis. Francophone Belgian cinema is examined ‘through the lens of two complementary notions of cinematic transnationalism and regional cinema’ (p. 178). While there remains some conceptual obscurity in this regard, Steele’s approach involves special attention to production and funding structures on the one hand, and to the representation of urban and rural spaces on the other. This combination proves to be fruitful for a deeper comprehension of the films. The book is at its best when the films are placed in a broader context, for example by showing how the story of Deux jours, une nuit (Jean-Pierre and Luc Dardenne, 2014) relates to a wider socio-economic analysis of today’s society, or how El eve libre (Joachime Lafosse, 2008) relates to Belgian national traumas (i.e. the Dutroux affair). Particularly insightful are the analyses that take into account certain traditions in Belgian (as well as international) cinema: Steele convincingly examines the legacy of Henri Storck, Paul Meyer and Jean-Jacques Andrien in films such as Folie priv e (2004, Joachim Lafosse), Nue propri et e (2006, Joachim Lafosse), and Cages (2006, Olivier Masset-Depasse). This film historical dimension does not only provide the book with more depth, it also triggers a further examination of various other historical traditions and contemporary aspects of Belgian cinema. As such, Steele’s book may hopefully serve as a source of inspiration for students and researchers.