One of my favourite things about sitting in cinemas in Rotterdam, awaiting a programme to begin, was the split screen buzz puzzle that featured tweets, an emoji film title game, audience response shortlist, and other events under spotlight during the festival.
About Tara Judah
Posts by Tara Judah:
I wonder what sort of an education it is possible to get here when our Democracy and Rule of Law demand disrespect, seek intolerance and deliberately destroy individual liberty.
My advice and energy entering into 2021 is to watch whatever the fuck you want to watch, and for fuck’s sake, let it simmer.
The image regime offers us horror and beauty in equal measure – often even suggesting the two are synonymous in the name of art.
I know it is a form of erasure, to make something that is not in any way about you, about you. But I do it anyway. Because I am lonely, literally isolated, and frankly fed up. And so, at best, in an effort to connect, I make everything about me.
While encouraging for the industry and overwhelmingly good as far as concerns the contemporary spate of news, it also makes me wonder why I haven’t – and might not for a while yet – visit a cinema.
This week, a so-called debate took place on the world stage. It has been described as “an old man arguing with a toddler.” Who is in charge of the world? And how do we face its pervasive neoliberalism?
How I am deciding what to watch is, potentially, the most troubling aspect, though, and gives testament to what cinemas are best at. As a British Australian, I am, in the first instance, watching British and Australian films, which feels like an incredibly colonial and xenophobic selection criteria.
Yesterday, eight artistic directors of hefty European film festivals attended the opening night of the 77th Venice International Film Festival. Press releases tell me they reaffirmed the value of cinema. I wonder who was there to hear them.