Why Criticism: Not Quite the Apocalypse
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
Why Criticism: The Race to Problematize Bittersweet Horror Endings
“In order to fully engage with horror films, it’s important to look at the monster and the world that’s being upended by that monster.”
Why Criticism: Mediocrity as a Catalyst at Berlinale 2020
“We are all mediocre writers when we start, and we must engage with others’ mediocrity throughout our careers. But we must engage with it level-headedly, picking out the good from the bad and making those distinctions to the best of our ability.”
Why Criticism: Berlinale 2020 and the Power of Sound
Swedish Film Critic Jakob Åsell on the Sounds of Berlinale 2020
Why Criticism: The One-Inch Tall Barrier of Foreign Cinema
“Tucked in our so-called privileged positions, we need to not only hold tight but also need to learn when to engage and when to let things go.”
Why Criticism: Time After Time, Linklater and Lucas
“In an era where cinephilia is always about performance, both online and in real life, woke buffs feel compelled to assemble their character like in a video game…”
Why Criticism: You Can’t Take the “Film” Out of Film Criticism
“Over time, a film critic should be able to engage with cinema in an all-encompassing manner, acknowledging the interior and exterior forces of what makes a movie…”
Why Criticism: Adam Nayman’s ‘Ben Wheatley: Confusion and Carnage’
A Column on Film Criticism by Justine A. Smith
Why Criticism: Understanding Film Restoration
A Column on Film Criticism by Justine A. Smith
Why Criticism: The Simple Joys of Food and Film
A Column on Film Criticism by Justine A. Smith
Why Criticism: Éric Rohmer’s ‘Louis Lumière’ (1968) or Dinner Among Friends
A Column on Film Criticism by Justine A. Smith
Why Criticism: Horror’s Fight for Respect
A Column on Film Criticism by Justine A. Smith
Why Criticism: Defining New Cinema at FNC 2016
“In search of new worlds and experiences, this year’s FNC has been a journey from the physical world to the metaphysical.”
Why Criticism: The Tale of the Festival Film
A Column on Film Criticism by Justine A. Smith
Why Criticism: Writing About What You Don’t Know
A Column on Film Criticism by Justine A. Smith
Why Criticism: Umberto Eco and ‘The Infinity of Lists’
A Column on Film Criticism by Justine A. Smith
Why Criticism: Queer Film Classics and ‘Forbidden Love’
A Column on Film Criticism by Justine A. Smith
Why Criticism: Joan Didion, John Wayne and Personal Brands
A Column on Film Criticism by Justine A. Smith
Why Criticism: Mark Cousins’ 50 Week Film Course
A Column on Film Criticism by Justine A. Smith
Why Criticism: Richard Dyer’s ‘White’ and Writing About Race
A Column on Film Criticism by Justine A. Smith