Of Love and Other Demons: ‘Patty Hearst’ (Paul Schrader, 1988)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Two Drink Minimum: Emmys 2016 – Progress Comes Quicker with Comedy
“The 68th Primetime Emmy Awards have helped shake up the industry with its most explicitly progressive and comedic self-congratulating.”
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
Two Drink Minimum: ‘Galaxy Quest’, ‘Star Trek’ and the Real World
“‘Galaxy Quest’ remains great as a testament to sci-fi filmmaking, television and reverence to ‘Star Trek’ as a fandom phenomenon which can only be understood and engaged with via postmodern means.”
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.”
Why Criticism: Mark Cousins’ 50 Week Film Course
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: ‘David Cross: Making America Great Again!’ (Netflix)
“Similar to the audience polarization of other onenote comics (like Ricky Gervais), Cross’ locked, angry views overwhelm his substantial wit.”
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
Two Drink Minimum: Amazon Pilot Reviews
Jacob Oller on ‘The Tick,’ ‘I Love Dick’ and ‘Jean-Claude Van Johnson’
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
Of Love and Other Demons: ‘Blonde Venus’ (Josef von Sternberg, 1932)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: We Need to Talk About Short Films
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: Greg Tiernan and Conrad Vernon’s ‘Sausage Party’
“In many ways, it’s like watching the Olympics. You may not understand every event or even grasp the differences between the best in the world or last place, but you respect the talent behind it.”
Of Love and Other Demons: ‘Underworld’ (Josef von Sternberg, 1927)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Of Love and Other Demons: ‘The Docks of New York’ (Josef von Sternberg, 1928)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith