Drawing on Hjort's (2009) typologies of cinematic transnationalism, this reading introduces ‘marked’ and ‘unmarked’ cinematic transnationalism in relation to the film's setting and how the landscapes of Nord-Pas-de-Calais are framed. Hjort defines a ‘marked’ form of cinematic transnationalism as being when ‘the agents who are collectively its [the film’s] author […] intentionally direct the attention of viewers towards various transnational properties that encourage thinking about transnationality’ (2009: 13–14). The film's DVD includes a detailed and informed dialogue between filmmaker Olivier Masset- Depasse and the producer of Versus Productions, Jean-Henri Bronckart, which begins to outline some of the decisions taken at the level of production that have impacted on the film textually. Masset-Depasse acknowledges that the shift in the production of the film represents ‘a true co-production that has become artistic’ (Masset-Depasse and Bronckart 2006). The quotation that opens this chapter further evinces the film's ‘marked’ status by pointing to the financial limitations and restrictions. In his original script, Masset-Depasse had written the film with the premise that it was located in his hometown city of Charleroi. In an interview with the filmmaker, Masset-Depasse (2013) discusses at length some of the changes that were made at an artistic level as a result of the relocating of the action across the conterminous border in Nord-Pas-de-Calais. What is more, the filmmaker strictly located his short film Chambre froide/Cold Storage (Olivier Masset-Depasse, 2000) in his hometown city, with distinct landmarks being drawn on as local and cultural articulations. In this sense, we are encouraged to interpret the film through the lens of cinematic transnationalism in industrial contexts (production, distribution and exhibition) and in terms of the film's aesthetics.