{"id":45226,"date":"2025-06-24T15:00:04","date_gmt":"2025-06-24T13:00:04","guid":{"rendered":"https:\/\/iffartfilm.com\/?p=45226"},"modified":"2025-07-07T09:20:15","modified_gmt":"2025-07-07T07:20:15","slug":"jonathan-murray-film-criticism-works-as-a-bridge-between-creators-and-viewers","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/news\/2025\/06\/jonathan-murray-film-criticism-works-as-a-bridge-between-creators-and-viewers\/","title":{"rendered":"Jonathan Murray: \u201cFilm criticism works as a bridge between creators and viewers.\u201d"},"content":{"rendered":"<p data-start=\"87\" data-end=\"482\">At the 31st IFF Art Film the <strong data-start=\"116\" data-end=\"147\">Blue Angel \/ FIPRESCI Award<\/strong> is being presented for the very first time. The independent jury\u2014members of the International Federation of Film Critics (FIPRESCI)\u2014honours films that excel artistically, technically or thematically. This year\u2019s jurors are <strong data-start=\"375\" data-end=\"441\">M\u00e1ria Feren\u010duhov\u00e1 (Slovakia), Jonathan Murray (United Kingdom)<\/strong> and <strong data-start=\"446\" data-end=\"481\">Malik Berkati (based in Berlin)<\/strong>.<\/p>\n<p data-start=\"484\" data-end=\"899\">The jury will evaluate three titles in the <strong data-start=\"527\" data-end=\"569\">International Feature Film Competition<\/strong>\u2014<strong data-start=\"570\" data-end=\"579\">Toxic<\/strong>, <strong data-start=\"581\" data-end=\"590\">Perla<\/strong> and <strong data-start=\"595\" data-end=\"607\">DJ Ahmet<\/strong>\u2014alongside three films in the <strong data-start=\"637\" data-end=\"705\">International Competition of Films from Central &amp; Eastern Europe<\/strong>\u2014<strong data-start=\"706\" data-end=\"726\">It\u2019s Not My Film<\/strong>, <strong data-start=\"728\" data-end=\"741\">Chronicle<\/strong> and <strong data-start=\"746\" data-end=\"759\">Honeymoon<\/strong>. Within the <strong data-start=\"774\" data-end=\"791\">Slovak Season<\/strong> section they will also consider two feature-length titles: <strong data-start=\"851\" data-end=\"872\">The Sluggard Clan<\/strong> and <strong data-start=\"877\" data-end=\"898\">Shadow of Victory<\/strong>.<\/p>\n<p data-start=\"484\" data-end=\"899\"><strong>Jonathan Murray<\/strong><\/p>\n<p data-start=\"928\" data-end=\"1152\">Professor of Film Theory, History and Criticism at the University of Edinburgh; author of several noted film-studies volumes; contributing editor at <em data-start=\"1077\" data-end=\"1087\">Cineaste<\/em> and co-editor of the <em data-start=\"1109\" data-end=\"1151\">Journal of British Cinema and Television<\/em>.<\/p>\n<p><iframe loading=\"lazy\" title=\"IFF AF 25 | Jonathan Murray\" width=\"1220\" height=\"686\" src=\"https:\/\/www.youtube.com\/embed\/xmDD7ZFKXuU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p data-start=\"1154\" data-end=\"1478\"><strong data-start=\"1154\" data-end=\"1261\">Jonathan, how did your interest in film criticism develop, and what brought you onto the Art Film jury?<\/strong><br data-start=\"1261\" data-end=\"1264\" \/><em data-start=\"1264\" data-end=\"1478\">\u201cIt began in my teens when I worked as a projectionist. From the booth I suddenly saw dozens of films from places and cultures I\u2019d never imagined, and I was hooked. Everything since has grown out of that moment.\u201d<\/em><\/p>\n<p data-start=\"1480\" data-end=\"1762\"><strong data-start=\"1480\" data-end=\"1561\">How does the Art Film programme compare with other festivals you\u2019ve attended?<\/strong><br data-start=\"1561\" data-end=\"1564\" \/><em data-start=\"1564\" data-end=\"1762\">\u201cIts great strength is the window it opens onto European cinema I\u2019d never catch at home in the UK. It\u2019s not only individual titles; it\u2019s access to the film culture of Slovakia and its neighbours.\u201d<\/em><\/p>\n<p data-start=\"1764\" data-end=\"1971\"><strong data-start=\"1764\" data-end=\"1817\">What is the biggest challenge when judging films?<\/strong><br data-start=\"1817\" data-end=\"1820\" \/><em data-start=\"1820\" data-end=\"1971\">\u201cBalancing my own taste with the perspectives of colleagues I\u2019ve just met. That dialogue\u2014both human and cinematic\u2014is demanding and hugely rewarding.\u201d<\/em><\/p>\n<p data-start=\"1973\" data-end=\"2174\"><strong data-start=\"1973\" data-end=\"2018\">What role does film criticism play today?<\/strong><br data-start=\"2018\" data-end=\"2021\" \/><em data-start=\"2021\" data-end=\"2174\">\u201cWe are the bridge. We give filmmakers the audience\u2019s response and offer viewers a wider context\u2014because, first and foremost, critics are viewers too.\u201d<\/em><\/p>\n<p data-start=\"2176\" data-end=\"2372\"><strong data-start=\"2176\" data-end=\"2224\">As a FIPRESCI juror here, what matters most?<\/strong><br data-start=\"2224\" data-end=\"2227\" \/><em data-start=\"2227\" data-end=\"2372\">\u201cI try to hold on to the exact feeling the film left me\u2014what it made me feel, show, teach. That vivid memory is my compass when we deliberate.\u201d<\/em><\/p>\n<p data-start=\"2374\" data-end=\"2588\"><strong data-start=\"2374\" data-end=\"2454\">Your toughest challenge in choosing a winner\u2014cultural perspectives or craft?<\/strong><br data-start=\"2454\" data-end=\"2457\" \/><em data-start=\"2457\" data-end=\"2588\">\u201cUltimately craft and artistry. Through them we can read the filmmaker\u2019s cultural background; without them, nothing else stands.\u201d<\/em><\/p>\n<p data-start=\"2590\" data-end=\"2875\"><strong data-start=\"2590\" data-end=\"2660\">What change in cinema over the past decade has surprised you most?<\/strong><br data-start=\"2660\" data-end=\"2663\" \/><em data-start=\"2663\" data-end=\"2875\">\u201cPerhaps the lack of change: despite endless streaming series, filmmakers still believe in one distilled 80- to 120-minute story experienced together in a specific place and time. I hope that never disappears.\u201d<\/em><\/p>\n<p data-start=\"2590\" data-end=\"2875\"><strong>M\u00e1ria Feren\u010duhov\u00e1: <em>\u201cOur only criterion is to decide freely according to our taste and professional experience\u2014and from that a good film will emerge as the winner.\u201d<\/em><\/strong><\/p>\n<p data-start=\"3055\" data-end=\"3257\">Poet, translator and film theorist; author\/editor of three monographs on film and five poetry collections; lecturer at the Academy of Arts in Bansk\u00e1 Bystrica and researcher at the Slovak Film Institute.<\/p>\n<p><iframe loading=\"lazy\" title=\"IFF AF 25 | M\u00e1ria Feren\u010duhov\u00e1\" width=\"1220\" height=\"686\" src=\"https:\/\/www.youtube.com\/embed\/PV5PyV-zPM0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p data-start=\"3259\" data-end=\"3594\"><strong data-start=\"3259\" data-end=\"3345\">M\u00e1ria, what led you to film criticism and what fascinates you about judging films?<\/strong><br data-start=\"3345\" data-end=\"3348\" \/><em data-start=\"3348\" data-end=\"3594\">\u201cIt started during screenwriting studies when I realised scriptwriting isn\u2019t the same as literary writing. I needed a finished film to write about, so criticism became the answer while I \u2018grew into\u2019 screenwriting\u2014or found something else to do.\u201d<\/em><\/p>\n<p data-start=\"3596\" data-end=\"4011\"><strong data-start=\"3596\" data-end=\"3697\">How do you view Slovak cinema today, and what could raise its international profile even further?<\/strong><br data-start=\"3697\" data-end=\"3700\" \/><em data-start=\"3700\" data-end=\"4011\">\u201cOur animated, documentary and fiction films already earn festival attention and awards. What distributors and the industry still need is to woo Slovak audiences\u2014work with target groups and draw them into the cinema experience. Many people here still think Slovak cinema isn\u2019t worth much; that has to change.\u201d<\/em><\/p>\n<p data-start=\"4013\" data-end=\"4332\"><strong data-start=\"4013\" data-end=\"4101\">When you evaluate a film, which aspect weighs most\u2014originality, acting or technique?<\/strong><br data-start=\"4101\" data-end=\"4104\" \/><em data-start=\"4104\" data-end=\"4332\">\u201cA film is the sum of all its parts. If only the camera dazzles, something\u2019s missing. In outstanding films everything is balanced\u2014or, if something is deliberately rough, I ask why. Clear intent makes the film more compelling.\u201d<\/em><\/p>\n<p data-start=\"4334\" data-end=\"4749\"><strong data-start=\"4334\" data-end=\"4425\">When was the last time a film completely surprised you and changed your view of cinema?<\/strong><br data-start=\"4425\" data-end=\"4428\" \/><em data-start=\"4428\" data-end=\"4749\">\u201cMy formative shocks came between seventeen and twenty-five\u2014Pasolini\u2019s Teorema, Kubrick\u2019s A Clockwork Orange, films by Lars von Trier and Agn\u00e8s Varda, the entire French New Wave. It still happens, though less often; today\u2019s films can be more visceral\u2014I sometimes react physically, which never happened in my youth.\u201d<\/em><\/p>\n<p data-start=\"4751\" data-end=\"5075\"><strong data-start=\"4751\" data-end=\"4871\">What does it mean to sit on the FIPRESCI jury at Art Film, and how does the experience compare with other festivals?<\/strong><br data-start=\"4871\" data-end=\"4874\" \/><em data-start=\"4874\" data-end=\"5075\">\u201cIt\u2019s huge\u2014because FIPRESCI now has a Slovak competition, and at Art Film, one of my favourite festivals. I\u2019ve worked here in many roles, and the festival has accompanied my whole professional life.\u201d<\/em><\/p>\n<p data-start=\"5077\" data-end=\"5359\"><strong data-start=\"5077\" data-end=\"5147\">As a juror, what is most important when judging competition films?<\/strong><br data-start=\"5147\" data-end=\"5150\" \/><em data-start=\"5150\" data-end=\"5359\">\u201cWe try to stay open, without preset criteria. We discuss how each of us perceives the films and compare our viewer, cultural and human experiences. If we disagree, we\u2019re ready to argue\u2014in love and respect.\u201d<\/em><\/p>\n<p data-start=\"5361\" data-end=\"5655\"><strong data-start=\"5361\" data-end=\"5409\">Your biggest challenge in deciding a winner?<\/strong><br data-start=\"5409\" data-end=\"5412\" \/><em data-start=\"5412\" data-end=\"5655\">\u201cEvery case is different: we each bring distinct backgrounds and tastes. This is my first purely critical jury, so we share the basics and judge only the finished work, less influenced by cultural policy. Openness and freedom are essential.\u201d<\/em><\/p>\n<p data-start=\"5657\" data-end=\"5958\"><strong data-start=\"5657\" data-end=\"5733\">Which changes in cinema over the past ten years have surprised you most?<\/strong><br data-start=\"5733\" data-end=\"5736\" \/><em data-start=\"5736\" data-end=\"5958\">\u201cI don\u2019t think cinema has changed radically since digitalisation settled in. Grainy or video textures are now a narrative choice, not a technical necessity. Cinema is still young; what changes most is my own perception.\u201d<\/em><\/p>\n<p data-start=\"5657\" data-end=\"5958\"><strong>Malik Berkati: <\/strong><em><strong>\u201cFilm critics should remind people why the big screen is worth it\u2014for the music, the emotions, the experience.\u201d<\/strong><\/em><\/p>\n<p data-start=\"6101\" data-end=\"6345\">Swiss journalist and film critic based in Berlin; editor-in-chief of the culture magazine <em data-start=\"6191\" data-end=\"6198\">j:mag<\/em>; long-time juror at festivals across Europe and Asia; member of FIPRESCI, the European Film Academy and the Swiss Association of Film Journalists.<\/p>\n<p><iframe loading=\"lazy\" title=\"IFF AF 25 | Malik Berkati (\u010dlen poroty FIPRESCI)\" width=\"1220\" height=\"686\" src=\"https:\/\/www.youtube.com\/embed\/UP3MabhX0j0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p data-start=\"6347\" data-end=\"6510\"><strong data-start=\"6347\" data-end=\"6403\">Welcome, Malik. Is this your first time in Slovakia?<\/strong><br data-start=\"6403\" data-end=\"6406\" \/><em data-start=\"6406\" data-end=\"6510\">\u201cNot quite\u2014I visited Bratislava and Brno back in Czechoslovak days. But it\u2019s my first time in Ko\u0161ice.\u201d<\/em><\/p>\n<p data-start=\"6512\" data-end=\"6601\"><strong data-start=\"6512\" data-end=\"6556\">How do you find the festival atmosphere?<\/strong><br data-start=\"6556\" data-end=\"6559\" \/><em data-start=\"6559\" data-end=\"6601\">\u201cFantastic\u2014warm and relaxed. I love it.\u201d<\/em><\/p>\n<p data-start=\"6603\" data-end=\"6740\"><strong data-start=\"6603\" data-end=\"6645\">How does one become a FIPRESCI member?<\/strong><br data-start=\"6645\" data-end=\"6648\" \/><em data-start=\"6648\" data-end=\"6740\">\u201cFirst join your national critics\u2019 association; that association must belong to FIPRESCI.\u201d<\/em><\/p>\n<p data-start=\"6742\" data-end=\"6926\"><strong data-start=\"6742\" data-end=\"6788\">How is the collaboration within your jury?<\/strong><br data-start=\"6788\" data-end=\"6791\" \/><em data-start=\"6791\" data-end=\"6926\">\u201cGreat. Being a panel of critics means we share a similar professional lens. We don\u2019t always agree, but we look from the same angle.\u201d<\/em><\/p>\n<p data-start=\"6928\" data-end=\"7085\"><strong data-start=\"6928\" data-end=\"6974\">What do you focus on when watching a film?<\/strong><br data-start=\"6974\" data-end=\"6977\" \/><em data-start=\"6977\" data-end=\"7085\">\u201cEverything\u2014from direction and script to acting, light and sound. A critic can\u2019t isolate just one strand.\u201d<\/em><\/p>\n<p data-start=\"7087\" data-end=\"7371\"><strong data-start=\"7087\" data-end=\"7156\">Do streaming platforms and AI-generated reviews affect your work?<\/strong><br data-start=\"7156\" data-end=\"7159\" \/><em data-start=\"7159\" data-end=\"7371\">\u201cYes. Streaming makes it our task to remind people why cinema matters: the sound, the emotions, the communal big-screen experience. AI can draft a review, but it lacks heart. Criticism is passion, not science.\u201d<\/em><\/p>\n<p data-start=\"7373\" data-end=\"7476\"><strong data-start=\"7373\" data-end=\"7418\">Do you set criteria before judging films?<\/strong><br data-start=\"7418\" data-end=\"7421\" \/><em data-start=\"7421\" data-end=\"7476\">\u201cNone. We walk in open and let the film speak to us.\u201d<\/em><\/p>\n<p data-start=\"7478\" data-end=\"7586\"><strong data-start=\"7478\" data-end=\"7502\">Your favourite film?<\/strong><br data-start=\"7502\" data-end=\"7505\" \/><em data-start=\"7505\" data-end=\"7586\">\u201cIt changes daily\u2014today, Wim Wenders\u2019s Wings of Desire; tomorrow, who knows.\u201d<\/em><\/p>\n<p data-start=\"7588\" data-end=\"7733\"><strong data-start=\"7588\" data-end=\"7651\">If you could change the ending of a famous film, would you?<\/strong><br data-start=\"7651\" data-end=\"7654\" \/><em data-start=\"7654\" data-end=\"7733\">\u201cNo. Even a \u2018bad\u2019 ending is the director\u2019s responsibility\u2014it\u2019s not my story.\u201d<\/em><\/p>\n<p data-start=\"7735\" data-end=\"7872\"><strong data-start=\"7735\" data-end=\"7771\">Your first strong cinema memory?<\/strong><br data-start=\"7771\" data-end=\"7774\" \/><em data-start=\"7774\" data-end=\"7872\">\u201cGoing to Star Wars with my father\u2014without my mother and sister. I still remember it vividly.\u201d<\/em><\/p>\n<p data-start=\"7874\" data-end=\"8153\"><strong data-start=\"7874\" data-end=\"7922\">When did you decide to become a film critic?<\/strong><br data-start=\"7922\" data-end=\"7925\" \/><em data-start=\"7925\" data-end=\"8153\">\u201cI\u2019m not sure I \u2018decided\u2019. I loved films, skipped lectures to catch afternoon screenings, studied political science, became a journalist and realised film was my passion. Having another field helps you explore cinema\u2019s world.\u201d<\/em><\/p>\n<p data-start=\"8155\" data-end=\"8451\"><strong data-start=\"8155\" data-end=\"8213\">How has the film landscape changed during your career?<\/strong><br data-start=\"8213\" data-end=\"8216\" \/><em data-start=\"8216\" data-end=\"8451\">\u201cI avoid watching films on platforms. Some platform productions try to pass as cinema art, but they feel fake. People are returning to theatres\u2014they want the big screen and shared emotions. I\u2019m not convinced streaming is the future.\u201d<\/em><\/p>\n<p data-start=\"8453\" data-end=\"8646\"><strong data-start=\"8453\" data-end=\"8520\">Are classic films at festivals important for younger audiences?<\/strong><br data-start=\"8520\" data-end=\"8523\" \/><em data-start=\"8523\" data-end=\"8646\">\u201cAbsolutely. Classics were shot for the big screen; if they\u2019re in good shape or restored, they must be seen in a cinema.\u201d<\/em><\/p>\n<hr \/>\n<p><b>The 31st IFF ART FILM is made possible thanks to the support of:<\/b><\/p>\n<p><b>Organizer:<\/b><span style=\"font-weight: 400;\"> ART FILM FEST s.r.o.<\/span><\/p>\n<p><b>Co-organizers:<\/b><span style=\"font-weight: 400;\"> Mesto Ko\u0161ice \u00b7 K13 \u2013 Ko\u0161ick\u00e9 kult\u00farne centr\u00e1 \u00b7 Visit Ko\u0161ice \u00b7 ART FILM FEST, n.o. \u00b7 LGM, s.r.o. \u00b7 FORLIVE<\/span><\/p>\n<p><b>Financial support:<\/b><span style=\"font-weight: 400;\"> Audiovizu\u00e1lny fond \u00b7 Nad\u00e1cia SPP<\/span><\/p>\n<p><b>Co-financed by:<\/b><span style=\"font-weight: 400;\"> Ko\u0161ick\u00fd samospr\u00e1vny kraj through the Terra Incognita programme<\/span><\/p>\n<p><b>Main Partners<\/b><span style=\"font-weight: 400;\">: n\u00e1rodn\u00e1 lot\u00e9riov\u00e1 spolo\u010dnos\u0165 TIPOS \u00b7 Slovensk\u00e1 elektriza\u010dn\u00e1 prenosov\u00e1 s\u00fastava, a.s. \u00b7 CODES Brand House<\/span><\/p>\n<p><b>Main Media Partners: <\/b><span style=\"font-weight: 400;\">TV JOJ \u00b7 Pravda \u00b7 Eurotelev\u00edzia<\/span><\/p>\n<p><b>Automotive Partner: <\/b><span style=\"font-weight: 400;\">Moris Slovakia<\/span><\/p>\n<p><b>Advertising Partners: <\/b><span style=\"font-weight: 400;\">Best Press \u00b7 U. 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Steel Ko\u0161ice \u00b7 ANTIK telecom \u00b7 Kino \u00dasmev \u00b7 LOKO TRANS Media \u00b7 CORE Labs \u00b7 Technick\u00e1 univerzita v Ko\u0161iciach<\/span><\/p>\n<p><b>Technology Partners: <\/b><span style=\"font-weight: 400;\">NOV \u00b7 ZEBRA \u00b7 Deutsche Telekom Systems Solutions Slovakia \u00b7 T4H \u00b7 LEDGO \u00b7 DELTA OnLine \u00b7 ARICOMA \u00b7 TelekomCLOUD<\/span><\/p>\n<p><b>Official Suppliers: <\/b><span style=\"font-weight: 400;\">DKC Veritas \u00b7 Kaviare\u0148 Sl\u00e1via \u00b7 PLOOM \u00b7 Kru\u0161ovice BOH\u00c9M \u00b7 pramenit\u00e1 voda Lucka \u00b7 DOMOS SLOVAKIA \u00b7 Re\u0161taur\u00e1cia Contessa \u00b7 Aupark Shopping Center Ko\u0161ice \u00b7 Pierre Baguette \u00b7 Julius Meinl \u00b7 Red Fox Golf Club<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><b>Official wines:<\/b><span style=\"font-weight: 400;\"> Kubbo Select \u00b7 Ostro\u017eovi\u010d<\/span><\/p>\n<p><b>Media Partners: <\/b><span style=\"font-weight: 400;\">JOJ play \u00b7 JOJ 24 \u00b7 Film Europe \u00b7 R\u00e1dio KO\u0160ICE \u00b7 Aktuality.sk \u00b7 Forbes \u00b7 Startitup.sk \u00b7 Korz\u00e1r \u00b7 Slovenka \u00b7 SITA \u00b7 TASR \u00b7 Mediaboard \u00b7 See &amp; Go \u00b7 \u010cesko-Slovensk\u00e1 filmov\u00e1 datab\u00e1ze \u2013 \u010cSFD \u00b7 BigMedia \u00b7 Ko\u0161ice City Guide \u00b7 Ko\u0161ice v skratke \u00b7 Film.sk \u00b7 diva.sk \u00b7 koktejl.sk \u00b7 zenskyweb.sk \u00b7 MOJAkult\u00fara \u00b7 Kino Sterio \u00b7 Dopravn\u00fd podnik mesta Ko\u0161ice \u00b7 AHOJ TV<\/span><\/p>\n<p><b>Partners: <\/b><span style=\"font-weight: 400;\">JOJ Cinema \u00b7 Jojko \u00b7 Ve\u013evyslanectvo Indie v Bratislave \u00b7 Carmeuse Slovakia \u00b7 DDDental \u00b7 TINY Houses \u00b7 ECO Technologies \u00b7 Letisko Ko\u0161ice \u00b7 Local Nomad Tours \u00b7 Slovensk\u00fd filmov\u00fd \u00fastav \u00b7 Taper \u00b7 YumEarth \u00b7 Puella v\u00f4ne \u00b7 Kvety Garomi \u00b7 \u010dLOVE\u010dina hra \u00b7 Rak\u00faske kult\u00farne f\u00f3rum \u00b7 TESCO Store SK \u00b7 CPK Transport \u00b7 Taba\u010dka Kulturfabrik \u00b7 King Media \u00b7 V\u00fdchodoslovensk\u00e9 m\u00fazeum v Ko\u0161iciach \u00b7 Letn\u00ed filmov\u00e1 \u0161kola \u00b7 KPK Reklama \u00b7 MIHYRING \u00b7 Zoberma taxi \u00b7 Hair Factory Ko\u0161ice \u00b7 Ve\u013evyslanectv\u00ed \u010cesk\u00e9 republiky v Bratislav\u011b<\/span><\/p>\n<p><b>Gastronomy Partners: <\/b><span style=\"font-weight: 400;\">Pub u Koh\u00fata \u00b7 El Nacional \u00b7 OhniskO Fire Dining &amp; Brew Bar \u00b7 Maiko Sushi \u00b7 Macarons Ko\u0161ice \u00b7 \u0161um vin\u00e1re\u0148 \u00b7 Caf\u00e9 de Paris \u00b7 Casa Trade \u2013 Casablanca cafe \u00b7 TATRATEA \u00b7 Moritz Eis<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>At the 31st IFF Art Film the Blue Angel \/ FIPRESCI Award is being presented for the very first time.<span class=\"excerpt-hellip\">","protected":false},"author":8,"featured_media":45160,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17,24],"tags":[175],"class_list":["post-45226","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-people","tag-aff-2025-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.2 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Jonathan Murray: \u201cFilm criticism works as a bridge between creators and viewers.\u201d &#8226; IFF ART FILM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/iffartfilm.com\/en\/blog\/news\/2025\/06\/jonathan-murray-film-criticism-works-as-a-bridge-between-creators-and-viewers\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jonathan Murray: \u201cFilm criticism works as a bridge between creators and viewers.\u201d\" \/>\n<meta property=\"og:description\" content=\"At the 31st IFF Art Film the Blue Angel \/ FIPRESCI Award is being presented for the very first time. 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