Developing the Critical Word in an Age of Opinion

Programme Date/Time

31 July 2021 (Saturday), 2pm


Live on Zoom



Registrations are now closed

Registrations are now closed

Catch the full recording of this talk here!

There are many ways to discuss film, from casual conversations with friends as you exit the movie theatre, to long form reviews on a personal blog. At some point, you might wonder, how can my words contribute valuably to critical film literature? From newer platforms, such as creating zines and utilising social media platforms, to more traditional publishing platforms, there are many different approaches for film writers to join the film literature discourse. 

This talk engages film writers in the deeper discussion of improving and developing these newer platforms, amidst traditional systems in place, in order to continually instill trust in our audience, with our writing.


Adrian Jonathan Pasaribu


Adrian Jonathan Pasaribu is the chief editor and co-founder of Cinema Poetica — a collective of film critics, activists, and researchers in Indonesia. From 2007 to 2010, he was part of the curatorial team of Kinoki — an alternative cinema space in Yogyakarta. From 2010 to 2015, he worked for Konfiden Foundation as an editorial staff of — an online Indonesian film encyclopedia. In 2013, Adrian participated in Berlinale Talent Campus as a film critic, and since then regularly organized or mentored film criticism workshops in Indonesia on behalf of Cinema Poetica. He has curated several film festivals, including Festival Film Dokumenter and Jogja-NETPAC Asian Film Festival. Nowadays, Adrian works as a freelance editor, writer, and researcher in Jakarta.

Davide Cazzaro


Davide Cazzaro is the publisher and editor-in-chief of NANG Magazine. Over the years he has worked at the intersection of cinema, publishing, and research and has continued to hone his passion for developing, curating and overseeing print publishing projects. Past collaborations include work with the Busan International Film Festival as researcher and publishing editor and the Pesaro International Film Festival as curator and program consultant.

Maggie Lee


Maggie Lee is Variety’s Chief Asia Film Critic and was formerly The Hollywood Reporter’s Asia Chief Critic. Most of her working life has been based in Japan, as Project Manager for Short Shorts Film Festival and Programming Consultant for Tokyo International Film Festival. She was Artistic Director of CinemAsia Film Festival in Amsterdam 2017-2019, and also programmes for Vancouver Film Festival and Vancouver Asian Film Festival. She has mentored critics and directors for film workshops and scriptlabs, and been industry consultant for Japan Foundation, Netherlands Film Fund and the HK-Asia Film Financing Forum.

Panagiotis Kotzathanasis


Panagiotis Kotzathanasis is a film critic and reviewer specialising in East Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. Since 2019, he has introduced the “Submit Your Film” Initiative to Asian Movie Pulse, that allows all Asian filmmakers to send their movies to be reviewed, with the submissions having already exceeded 250. Not only does the initiative bring Asian feature and short films into the spotlight, but also provides feedback to the filmmakers, serving thus as a quasi-educational platform for young filmmakers. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can also be found in a number of other publications including SIRP in Estonia, in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India. His articles about Asian cinema exceed 300 on a yearly basis, while he also contributes video analyses in the digital releases of Spectrum Films in France. Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes, including one to Fruit Chan and one to contemporary Asian cinema.


Teo Xiao Ting


Xiao Ting plays with “words” and its related resonances, “art” and its transubstantiations. Their current practice focuses on tending to the arts through writing alongside, sharing attention, and being with. They are currently a counsellor-in-training, and are in the midst of being trained in trauma-informed relational somatics.