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In her introduction to Screening Strangers: Migration and Diaspora in Contemporary European Cinema, Yosefa Loshitzky points to the evolution of a globalization process whereby previously “classical countries of emigration” including Portugal, Greece and Ireland have themselves become desirable destinations for third world migrants seeking a better life in the European Union. The intricacies of writing a book as wide-ranging as Loshitzky’s, coupled with the continuing and unpredictable fallout from the economic crisis, ensure that even shrewd observations about the state of contemporary Europe run the risk of immediate obsolescence. That Loshitzky should single out these three nations (along with Spain) in outlining an introductory section on “Fortress Europe, Diasporas and Globalization” is hardly a slight on a book that is well argued, engaging and detailed; moreover, it should serve paradoxically as an endorsement of her central treatise: namely that far from being a utopian cultural melting pot, European society has struggled to come to terms with the realities it faces and the obligations inherent in its history.