Author Tara Judah

In her entertaining and thoroughly engaging whistle-stop tour through 20th century popular film and TV narratives, film critic and journalist Ellen E. Jones convincingly makes the case for the potential of film...

The day I arrived in the Netherlands was the same day that the provisional measures request from South Africa in their genocide case against Israel was brought before the ICJ (International Court of Justice) in...

In Inge Coolsaet’s video essay (putting) On Aftersun, she divulges that her brother missed the early scene in the film where the tour guide mentions Torremolino in Spain. With this part of the film missing, Coo...

A lifelong cinephile, professional film projectionist (35mm and 70mm), and independent filmmaker, Rob Murphy is an optimistic anomaly within the industry. He, and his docu-quest through big and widescreen forma...

After two years of hybrid versions, London Film Festival was back in full force. But I still felt uncertain about attending in person; fighting my way through the crowded Underground and standing in endless que...

My first encounter with Mark Jenkin’s work was by recommendation from a Cornish friend.  He’d been hand-processing 16mm and Super8 short films in Cornwall for years before I jumped on the fan bandwagon. It was ...

On his early evening drive home from work (he leaves just after 5pm every day), Andrew Rakowski, the Melbourne lawyer who serves as protagonist in David Easteal’s The Plains, remarks, “No safety lanes anymore.”...

I was searching for a word to describe my specific feelings of loneliness when I came across mauerbauertraurigkeit, which the internet tells me is German for “wall builder sorrow”. It describes building an emot...

There is no festival in my home, only lockdown. But, there is a familiar and comforting Tiger that graces my television screen. It reminds me that the opportunity to dream remains untouched by the pandemic; som...

As I write, supermarket shelves sit empty. People are stockpiling toilet paper, hand sanitiser and other household goods in preparation for a lockdown: in my former home, Australia, and in my current home, the ...

It’s been bang on ten years since I started my so-called career in film exhibition and film criticism. My hopes and desires, for film and for myself, was to engage in discourse. I’d just set up my equivalent fi...

The British Film Institute (BFI) is both the physical home and funding body behind the lion’s share of film activity in the UK. It is a beacon for film culture, and the London Film Festival is its flagship even...

Few films captured my imagination this year in Oberhausen. Fewer still rocked my world. There were four new strands added to the program and finding my way through it felt harder than usual. Sampling rather tha...

When I scroll through Instagram, I am fascinated by the ability of the interface. I am at a film festival, having what I presume to be a good time, until I see in my feed that someone else, at the very same fes...

I was born in London, but I grew up in Australia. To my eyes, the people of London move with direction and urgency, as if the city somehow has the stuff pulsing through their veins. Usually, I move like someone...

The English language translation of Aruitemo Aruitemo (Still Walking, Hirokazu Koreeda, 2008) as “Still Walking” offers a subtle and incisive duality of meaning that is fitting for a filmmaker whose narratives ...

The programme at the Short Film Festival is difficult, to be sure, but it always has been. Even the Short Film Festival’s first programme in 1954 already included films that could still have a disconcerting eff...

In his new documentary, Lo and Behold, Reveries of the Connected World, Werner Herzog positions the internet, and technological advancement more widely, as relational to the contemporary shift in social morals ...

It’s not new to claim that cinema is in crisis. Issues of format, exhibition, theory and the very ontology of the thing have repeatedly come into question for filmmakers and curators – especially when it comes ...

It’s at least five years too late, but this year’s LFF included a sold out panel discussion on the importance of keeping film – specifically the photochemical medium, rather than the wider art of moving image –...

Oberhausen is an unusual festival. Content is selected and curated, as it is elsewhere, and yet, at Oberhausen, it doesn’t always feel as though the end result is films screening. Sometimes it seems as though t...

The thirteenth TriBeCa Film Festival can be considered a great success if growth is a value indicator. Official screening figures boast “over 120,000 movie-goers”, with “a total attendance of over 400,000”, onc...

Too many voices have hailed the death of film. But it’s not dead. For the major studios – that seek to control production, distribution and exhibition – ringing the death knell is an imperative if they’re to...

Almost as extraordinary as Justin Kurzel’s feature film debut, Snowtown, about the 1999 “Bodies in Barrels” murders, is the often-baulking reception with which it is met. Peter Bradshaw writing for The Guardian...

The very existence of this unique six-day festival is a provocation. The oldest short film festival in the world, Oberhausen was established in 1962, when 26 young West-German filmmakers wrote a manifesto that ...

Bill Douglas was 57 when he died, leaving the world with a handful of student films, three unproduced screenplays, his highly acclaimed Trilogy , and the grand sweeping three-hour (often forgotten) epic period ...