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.
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.