The Extreme Cinema of Eastern Europe examines extreme, transgressive cinema which developed following a post-2000 wave in filmmaking that aestheticised violence on audio-visual, narrative and thematic levels.
Batori investigates the ways in which contemporary national trends from within Eastern Europe correspond to the global stream of transgressive filmmaking and shock aesthetics that have become the dominant markers of world cinema. Do these art productions intend to reveal and criticise aggressions in domestic landscapes or are they part of a contemporary global visual discourse? With a specific focus on gender, this book highlights both nation-specific features of these films and their relationship to global extreme art films.