Addressing representations of Russia and neighbouring Eastern Europe in post-1989 Nordic cinemas, this ground-breaking book investigates their hitherto overlooked transnational dimension. Departing from the dark stereotypes that characterise much of 'Eastern noir', the book presents Russia and Eastern Europe as imagined spaces depicted with a surprisingly rich, but previously neglected cinematic diversity. Cross-disciplinary in its approach, and utilising in-depth case studies of feature films, documentaries and television dramas, such as Lilya 4-ever, A Pigeon Sat on a Branch Reflecting on Existence and Occupied, the book presents a variety of perspectives on Russia and Eastern Europe found in the Nordic audiovisual imagination and considers how increasingly transnational affinities have led to a reimagining of Norden's eastern neighbours in contemporary Nordic films.AcknowledgementsIntroduction: The Iron Curtain effect: Nordic Eastern noirChapter 1: Borders: Russia and Eastern Europe as a crime sceneChapter 2: Boundaries: Infiltrated identitiesChapter 3: The Baltic boundaryChapter 4: Guilt and shame in (trans)national spacesChapter 5: Embodying the fear of Russia: The militarised bodyChapter 6: Polish spectres in our house: Revisiting the Nordic metaphor of the homeAfterword: Beyond Eastern noir: Toward a new (cinematic) spaceBibliographyFilmography