The turn of the twenty-first century saw the emergence of a transnational cycle of Gothic horror films preoccupied with uncanny child figures. As I have previously articulated (Balanzategui, Uncanny Child), this group of films includes now iconic Japanese horror films such as Ringu (Nakata, 1998) and Ju-on: The Grudge (Shimizu, 2002) as well as their Hollywood remakes, and Spanish films including the Spanish-produced English-language film The Others (Amenábar, 2001). As Keith McDonald and Wayne Johnson point out, transnational flows of cultural exchange underpin the genre mechanics of Gothic horror films in the twenty-first century, manifested as an ‘oscillation between established discourse of genre and […] counter discoursal responses’ which continues to be ‘invigorated by a heightened transnational ecology due to the increased effects of globalization in real world and artistic contexts’ (3). Similarly, Glennis Byron points to ‘increasing evidence of the emergence of cross-cultural and transnational gothics that called out for attention and which suggested that, despite the emergence of so many national and regional forms, in the late twentieth and early twenty-first centuries gothic was actually progressing far beyond being fixed in terms of any one geographically circumscribed mode’ (1). The transnational, transmillennial Gothic horror cycle I examine in The Uncanny Child in Transnational Cinema (2018) is one prominent example of these ‘transnational gothics’, and is a particularly self-aware example: this cycle of films deploys uncanny child characters to work through globally resonant fin de siècle anxieties about intersecting processes of cultural and technological change.