Of Love and Other Demons: ‘Auto Focus’ (Paul Schrader, 2002)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
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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)
A Justine A. Smith Series on Montreal’s Cinémathèque Québécoise
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.”
