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
RIDM 2016 Review: Atsushi Funahashi’s ‘Raise Your Arms and Twist – Documentary of NMB48’
“Focusing on a group from Osaka rather than Tokyo unveils a more nuanced reality of the industry, offering a look from the outside.”
RIDM 2016 Review: Nele Wohlatz’s ‘El futuro perfecto’
“As we take for granted the ease of our own native tongue, we are perhaps ignoring its full potential.”
RIDM 2016 Review: Mehrdad Oskouei’s ‘Starless Dreams’
“In some ways, Oskouei’s involvement can be construed as invasive, but it feels integral.”
RIDM 2016 Review: Claire Simon’s ‘Le concours’
“What makes someone a great artist before they’ve made any great works of art? That becomes the central question and object of scrutiny at the heart of ‘Le concours,’ making it one of the most compelling examinations of auteur driven cinema.”
RIDM 2016 Review: Patric Chiha’s ‘Brothers of the Night’
“‘Brothers of the Night’ takes an unexpected approach and reveals hidden parts of life amongst Bulgarian male hustlers in Vienna.”
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
Of Love and Other Demons: ‘Christine’ (John Carpenter, 1983)
“In many ways, ‘Christine’ reflects a skepticism of the ‘I take what I want, when I want it’ system that emerges when consumerism becomes the dominant ideological force of society.”
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
Of Love and Other Demons: ‘Auto Focus’ (Paul Schrader, 2002)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Umberto Eco and ‘The Infinity of Lists’
A Column on Film Criticism by Justine A. Smith
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
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