Giacomo Brunelli’s Eternal London treats the British capital not as a catalogue of monuments but as a stage of partial revelations. Trafalgar Square, St Paul’s Cathedral and other recognizable sites remain present, yet Brunelli makes them newly strange through a film-noir-inflected approach. Figures and animals frequently enter as silhouettes, interrupting the familiar cityscape and shifting attention from topography toward atmosphere, suspense and fleeting encounter.

The book belongs to the territory of street photography, though its emphasis is less on comprehensive social description than on constructing a concentrated image of London. Brunelli’s handling of familiar landmarks resists the explanatory clarity of conventional urban surveys. The city instead emerges through contrasts: public architecture and passing bodies, civic grandeur and animal presence, immediate recognition and visual uncertainty. These pairings give the photographs their distinctive tension.

Published by Dewi Lewis Publishing and extending across 56 pages, Eternal London was issued to coincide with an exhibition at The Photographers’ Gallery. It also followed Brunelli’s earlier book The Animals. That continuity is pertinent: the silhouettes of animals and people in the London photographs suggest how an established concern with nonhuman presence could be carried into a dense metropolitan setting, where scale and context alter its effect.

For a photobook collector, the volume’s importance rests not on claims of scarcity but on the precision of this artistic proposition. It records a specific meeting between Brunelli’s dark, suggestive visual language and one of the world’s most frequently photographed cities. The compact format of the project, its relation to an institutional exhibition, and its position after The Animals make it a focused document of how a photographer can revisit canonical urban subjects without simply repeating their established imagery.