To “quote” Nietzsche, we do not proceed with a hammer, but rather with a very fine file – later Deleuze would echo this sentiment. Since its “foundation” (2009), this journal has sought to undo that body of work we call “film criticism” like some sort of separate genre. What does such a procedure entail? Opening its body to connections that involve a chain of intensities, passages and landscapes; deconstructing the genres called “film criticism”, “media studies” that only seek to make and solve problems; undoing the good conscience that establishes boundaries, rules, and celebrates rituals of belonging in order to fix points of identification.

This journal has always been a collective that connects a multitude of elements, fragments, and perspectives: companion species. More than being a simple multidisciplinary operation, LFU has always been, in Donna Haraway’s terms, a compost, a bestiary. Where species meet.

LFU is this meeting space. Noi siamo come i coyote.

There is a need to rethink the boundaries of the old categories to connect epistemology, politics, and arts, representations and media; social justice and climate justice. LFU has always had a multispecies vocation and is increasingly involved in a trans scenario.

This is our contribution, our staying with the trouble – and causing some trouble.

Viola Cassina, Coyote (2022)

T.D.