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?”
About Tara Judah
Posts by Tara Judah:
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.
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.