In 100th year, film critics federation faces challenge from social media
THIRUVANANTHAPURAM: Regular film festival goers would have noticed this award, a mainstay at IFFK, for its modesty. FIPRESCI (Federation Internationale de la Presse Cinematographique), the international federation of film critics that gives away this award, is entering its 100th year of formation. The FIPRESCI team, in fact, is a regular at film festivals across the world and comprises a team of professional film critics whose choice is valued for its creative, social, and logical content. The international body was formed in 1926 by Belgian and French critics to ensure fair analysis of the content in films, to ensure respect for the professionals, and to keep the values of the profession intact. The federation has grown to represent critics from over 80 countries now. But 100 years since its formation, the critics body faces challenges posed by the social media advent. Ashanti Omkar, broadcaster, film, TV, and culture critic, who is among the FIREPSCI jury this year at IFFK, feels that in the digital age, criticism has become more informal, with more digital creators in the mix, who have a very different style of communicating releases. And not necessarily in the form of critique. They push cinema to their followers just like a legacy critic would. The ones who emerge from fandom for certain franchises like Marvel, Avatar, DC, Wicked, etc., show their appreciation to their followers in unique and creative ways like cosplay and podcasts, she notes. While the world wails over the death of the film critic, there is some hope still in the current crop of film reviewers, says Christopher Small, who is also among the FIPRESCI jury this year. It is true that professionally, criticism is dying. The Chicago Tribune has scrapped the post completely, and there isnt anyone below 40 whom I know has been employed in popular publications as a critic. That said, there are wonderful critics, young ones below 30, who write reviews after their job hours. So, now, it is more about passion than profession, he says. Critics earlier honed their skill not academically, though, but their passion had led them to develop the sharpness that was well guided by astute editors. But in the last 20 years, this is no longer the case. Platforms like Letterboxd and TikTok have changed the game, and anyone with a point of view can share their taste in cinema. Audiences now make their choices in very different ways, says Ashanti.
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