Why Criticism: Mark Cousins’ 50 Week Film Course
A Column on Film Criticism 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.
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
Joel Potrykus and Slacker Cinema
“Joel Potrykus has emerged as one of Michigan’s brightest sons.”