Of Love and Other Demons: ‘Auto Focus’ (Paul Schrader, 2002)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Justine Peres Smith
Justine Smith (@redroomrantings) lives and writes in Montreal, Quebec. She has a bachelor’s degree in Film Studies and a passionate hunger for all kinds of cinema. Along with writing for Vague Visages, she has written for Vice Canada, Cleo: A Feminist Journal and Little White Lies Magazine.
Why Criticism: Umberto Eco and ‘The Infinity of Lists’
A Column on Film Criticism by Justine A. Smith
At the Cinémathèque: ‘The Leopard’ (Luchino Visconti, 1963)
“Much of Luchino Visconti’s ‘The Leopard’ has a labored energy of theoretical dramaturgy.”
Of Love and Other Demons: ‘Patty Hearst’ (Paul Schrader, 1988)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Queer Film Classics and ‘Forbidden Love’
A Column on Film Criticism by Justine A. Smith
TIFF 2016: Interview with Director María José Cuevas and Olga Breeskin (‘Beauties of the Night’)
Justine A. Smith interviews the director and star of ‘Beauties of the Night.’
At the Cinémathèque: Is ‘Kamouraska’ Better Than ‘Mon oncle Antoine’?
A Justine A. Smith Series on Montreal’s Cinémathèque Québécoise
Of Love and Other Demons: ‘Cat People’ (Paul Schrader, 1982)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Joan Didion, John Wayne and Personal Brands
A Column on Film Criticism by Justine A. Smith
At the Cinémathèque: Jean-Luc Godard Finds Pleasure In Estrangement with ‘Passion’
“Centered on a made-for-television film, ‘Passion’ blends the far reaches of Western art with the birth of new mediums.”
Of Love and Other Demons: ‘American Gigolo’ (Paul Schrader, 1980)
“‘American Gigolo’ doesn’t necessarily work as a neo-noir, but it still has enough romance and intrigue to be well worth watching.”
Why Criticism: Mark Cousins’ 50 Week Film Course
A Column on Film Criticism by Justine A. Smith
At the Cinémathèque: ‘In the Realm of the Senses’ (Nagisa Ôshima, 1976)
“In the forbidden, Oshima reveals the fear of our own meaninglessness and our inability to face death as a certainty.”
Of Love and Other Demons: ‘Hardcore’ (Paul Schrader, 1979)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Richard Dyer’s ‘White’ and Writing About Race
A Column on Film Criticism by Justine A. Smith
At the Cinémathèque: L’ange et la femme (Gilles Carle, 1977)
“A deeply affecting and personal vision, it’s an essential entry in the history of eroticism in Canadian cinema.”
Of Love and Other Demons: ‘The Devil Is a Woman’ (Josef von Sternberg, 1935)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Thom Andersen and the Critic as a Worker
A Weekly Column on Film Criticism by Justine A. Smith
At the Cinémathèque: ‘The Pillow Book’ (Peter Greenaway, 1996)
“As formally challenging as ‘The Pillow Book’ may be, it romantically creates a love affair unbound by its physical limits, connecting it to past and present through art and literature.”
Of Love and Other Demons: ‘Blonde Venus’ (Josef von Sternberg, 1932)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith