Tara Judah is a film critic and curator, primarily interested in how art can inspire personal voice to inflect those spaces. Tara’s projects engage authenticity, performative enquiry, creative reflection, and critical intervention. As a writer, video essayist and cinema producer, she has worked in the UK and Australia for and with Watershed, BFI, 20th Century Flicks, Cube Microplex, The Astor Theatre, Girls on Film Festival, Senses of Cinema, Sight & Sound, Monocle24, Desist Film, Overland and BBC World Service.
A bimonthly column on film and reflections, somewhere between art and reality.
In Mourning with Minari, Lee talks about the shared space of cinematic light, and asks, “Isn’t that what movies are for? To open ourselves to a bigger world and all of the people in it?”
When I worked in an arts institution, a colleague asked me, “What does ‘festival experience’ mean?” At the time, I thought the question was daft. Surely, working in a building that houses such experiences would mean knowing that experience – something uniquely felt, but, at the same time, tied to a shared environment or atmosphere. […]
I am as interested in the work as I am in its affect: Allah is not making films for casual consumption, nor is he modest about who and what he is presenting.
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.
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.