Thanks to the miracle that is the internet, I was given the opportunity to contribute to Filmkrant’s critical round-up of the European continent’s cinematic produce, where I was asked to focus – of course – on the Maltese Islands.
The project appealed to me because contributors weren’t expected to scrounge around for hard facts and statistics, or trot out iron-clad opinions. Instead, they were hoping to create a collection of ‘slow criticism’ pieces, which would hopefully offer up a more ephemeral and intimate glimpse of European cinema.
To quote the magazine’s editorial:
‘We weren’t looking for facts & figures, for economics & industry, but for a snapshot, some instantaneous, and haphazard exposure, an examination of the cinematic pulse, a shipwrecked treasure from the tidelines, a message from the fault lines of history and the trenches of life. We asked them to be foreign correspondents in their own countries, travelling ambassadors in the realm of cinephilia, to lend us their ears and eyes and hearts and other senses to become the intelligences of this weird and wonderful beast that is Europe.’