The Transformative Power of Cinema

In the spring of 2022, I attended a film criticism workshop at the Slovenian Cinematheque in Ljubljana, led by film critics Anja Banko, Vitja Dominkuš Dreu and Ana Šturm, who is also the editor in chief of Ekran magazine. By then, I had already penned a few film and book reviews, but my anxious, overthinking nature left me feeling inadequately equipped to make my insights relevant or "good enough." My background in comparative literature made literary criticism feel less daunting, thanks to the extensive theoretical knowledge I had gained during my studies. However, my struggle with film criticism stemmed from the fact that, while I adored cinema, could dissect minute details in scenes for hours, and would never refuse a film, I felt I lacked the tools to articulate my opinions fully.

The workshop was transformative. It deepened my understanding of cinema and criticism, and helped me acquire the skills to articulate my thoughts with confidence. Engaging in discussions with fellow attendees, listening to lectures from film professionals, and having in-depth conversations with our mentors opened my eyes to cinema's profound potential: to mirror the human experience, reflect reality, and comment on pressing societal issues. Although I’m still on my journey to fully grasp this art form, I recognize it as an ever-evolving medium that uncovers new meanings with each film produced. Cinema is a communal experience—created by groups of people and shared with audiences who engage in dialogue about it. This is where film criticism becomes essential.

Critics voice their opinions, not from a position of superiority over film production, but as observers who engage thoughtfully with the medium. They sit quietly in theaters, watching, reflecting, and writing. What distinguishes them from casual viewers is their ability to construct well-argued critiques. Critical thinking, in my view, involves reflecting on one’s thoughts and expressing opinions backed by examples, historical context, and an awareness of socio-economic factors. As Serge Daney said, “Cinephilia is not only a particular relationship to cinema, it is a relationship to the world through cinema.” This is what I strive for: to cultivate and deepen this relationship. My time at the workshop reinforced my belief that hard work, a thirst for knowledge, and a passion for cinema form a solid foundation for growth.

With the rise of AI encroaching on many aspects of life, I advocate for a cautious yet optimistic approach. Writing has taught me that, despite being a solitary endeavour, it thrives on community. The support and feedback from colleagues, editors, and fellow cinephiles are invaluable and stem from shared experiences—something that began for me in that workshop with about 20 others who share a love for cinema. Perhaps I am a hopeless romantic or an incurable optimist, but I don’t believe AI can match human creativity or critical thought; it can only learn from our inputs, while our capacity for critical assessment of art remains uniquely human.