One of the results of the quite dramatic changes in twenty-first-century film production and funding is the veritable boom in academic publications on the transnational features of contemporary filmmaking. But despite the dependency of many film cultures of Latin America on international funding for their very survival, and despite the fact that they have, at least by scholars in the USA and UK, been traditionally subjected to a kind of supranational lumping together, scant attention has been paid to date to the transnational quality of filmmaking in the region. A number of very recent texts have sought to examine the contemporary cinema of Latin America beyond the rubric of the national, but on closer inspection we see that only a handful of chapters spread over these books are in any way comparative in nature. Very few texts analyse the film industries of Spain, Portugal or the nations of Latin America, and none to date has considered all three in relation to each other. And while a number of article-length works have helped to pave the way in terms of analysing the transnational links between Spanish and Latin American cinema, only two scholars (both contributors to this volume) have dealt with these links in any detail: Marvin d'Lugo edited a special double issue of the film journal Studies in Hispanic Cinemas in 2009 entitled ‘Beyond the Hispanic Atlantic: Cinema and its Symbolic Relocations’, while in the same year Libia Villazana published Transnational Financial Structures in the Cinema of Latin America: Programa Ibermedia in Study.