World Film Locations: Florence offers a unique, insightful examination of Florence as both backdrop and protagonist in a selection of international films. Joining the already forty-two volumes in the World Film Locations series, this edited collection is the third Italian city to be highlighted after Venice (2013) and Rome (2014), and conforms to the series’ organization: forty to fifty brief scene reviews, including six to eight individual frames, along with a time sequence, director's name, a one-line description, and a contemporary image of the area portrayed. User-friendly in presentation, each film is presented in two-page segments, the left and right side of the book, for the reader to experience the representation of the film in a complete unit.Edited by Alberto Zambenedetti, this volume is divided into six thematic sections. The first section begins with Eleanor Andrews “Views from the Grand Tour(ist): Florence and Foreign Consumption,” which examines films that represent the conceptualization, and at times adaptation, of the Grand Tour through Florence, starting as early as 1924 with Romola (Henry King) and ending with Carlo Lizzani's Cronache di poveri amanti (1954). In the second contribution, “Florentine Artists on Film: Michelangelo and Leonardo da Vinci,” Nathaniel J. Donahue explores films in which Florence influences the artist on screen. Although the essay is rich, the title is misleading, as Donahue considers films which represent both fictional artists and historical ones, including but not limited to Ottone Rosai. Dom Holdaway's “Florence after Dark: Cops, Crime and Serial Killers” successfully studies “giallo-like” classics revolving around the city. His brief introduction is well written and mentions Hannibal among others, but surprisingly chooses to omit it from his analysis despite its notoriety (Hannibal appears instead in Hennessey's section on food later). The fourth piece by Pasquale Iannone explores “Rolling Hills, Scorching Sun: Filming the Tuscan Countryside,” highlighting the mysticism that the Tuscan countryside offers. Although Iannone considers these films Tuscan, most of the scenes analyzed are actually shot in Florence proper. Next, Brenden Hennessey's “Bread, Wine and Celluloid: Tuscan Cuisine at the Movies” delves into the way Tuscan foodways function in seven memorable films. In this section, the movie choices are compelling, but it is unfortunate that there is no mention of Carole Counihan's anthropological research of Tuscan foodways, either in the introduction or the analysis. In the final piece, “From Dante to Machiavelli: Canonical Florentine Literature on Film,” Barbara Garbin investigates what the author deems to be canonical literature on screen through a variety of works, but the author's definition of “canonical” is debatable.The editor of the volume, Zambenedetti, collaborated with many contemporary film scholars on this publication. Most of the photo credits belong to the editor himself, and the collection works well together as a unified piece. The introductions are all insightful, well written, and provide a complete overview of each theme.Zambenedetti's “Introduction” makes it clear that the volume is not exhaustive due to its size and approach, and as such it is always a difficult task to select which movies to feature. The collection presents a balanced range of films that represent Florence's cinematic ingenuity, yet placement of a few films may have fit stronger in alternative categories. In revised editions, it may be interesting to include an essay dedicated to Florence in other media, particularly television with the new productions about the Medici and Borgia families.To conclude, one of the most appealing components of the volume is its very rich visual aspect, from contemporary images and maps to the individual cinematic frames, which will be useful to a wide array of readers, from undergraduates in a monograph course or study abroad experience, to film students and cultured travelers alike. Additionally, the individual authors often reference and cross-cite films throughout the work, intertwining nicely the six themes.