According to Tanya Horeck and Tina Kendall, whose preface lays the theoretical groundwork for our issue, visceral affect and a self-reflexive appeal to the spectator characterize European new extremism, which includes films as diverse as Lars von Trier’s Antichrist, Gaspar Noé’s Irreversible, Yorgos Lanthimos’s Dogtooth, and Claire Denis’s Trouble Every Day. This issue of Cinephile seeks to expand the discourse, calling into question the status and significance of extreme cinema across the globe.