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.
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.
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.