The Critics’ Corner at the 10th Beyond Borders: A Dialogue on the Present and Future of Film Criticism

One of the most engaging events of the 10th edition of the Beyond Borders Kastellorizo International Documentary Festival was the “Critics’ Corner,” a discussion that foregrounded the contemporary challenges of film criticism, as seen through the lens of three experienced critics.

The “Critics’ Corner” has become an established feature of the festival. It was first introduced in 2020, following a proposal by Klaus Eder, then General Secretary of FIPRESCI, who envisioned a space for dialogue where critics could meet both audiences and filmmakers. Festival president Irini Sarioglou and artistic advisor and director of international development Michel Noll embraced the idea and made it a reality. Since then, FIPRESCI has maintained a steady presence in Kastellorizo, including the awarding of its own prize in the festival’s competition section.

This year, against the unique backdrop of the island, I joined Elli Mastorou and Jan Storø, fellow members of the FIPRESCI jury, in an open dialogue on the present and future of film criticism. The occasion was even more special as the panel was also part of the celebration of the 100th anniversary of the International Federation of Film Critics (FIPRESCI)—an organization that has played a decisive role in shaping global film discourse.

The discussion began from common ground: Criticism today finds itself in a transitional phase. I spoke about the challenges posed by the digital revolution and the rise of social media. On one hand, new media have given a voice to more people, creating a more open ecosystem of exchange. On the other, the pressure for speed, simplification, and catchy headlines often undermines the depth and essence of criticism.

Elli Mastorou highlighted the importance of quality and depth. In an era where critics are often expected to react instantly, she stressed that the true value of criticism does not lie in speed but in the ability to shed light on a work through knowledge, analysis, and cultural context. As she underlined, the critic’s role is not simply to evaluate but to educate audiences and cultivate cinematic awareness.

Jan Storø, bringing his perspective from Norway, offered an international dimension. He spoke about the democratization of opinion, but emphasized that the presence of specialized critics remains vital for interpreting and evaluating cinema. He also highlighted the role of FIPRESCI as a platform that connects critics from different countries and cultures, creating bridges of understanding and exchange.

One of the central issues of the evening was the relationship between criticism and film festivals. We all agreed that festivals like Beyond Borders play a crucial role in showcasing works that rarely find access to commercial distribution. Festivals are cultural laboratories where critics can discover new voices and give visibility to films often overlooked by the mainstream.

The discussion also touched upon the era of algorithms and personalized recommendations. While digital platforms have made access to content easier than ever before, they have also created “bubbles” of preference, limiting viewers’ exposure to different works. This is precisely where the value of the critic lies: providing a human filter that transcends algorithmic logic and guides audiences toward unexpected discoveries.

The evening concluded on an optimistic note. Despite the challenges, there is still space—and need—for well-founded, in-depth film criticism. The future of criticism does not lie in rejecting new realities, but in the ability to adapt to them while safeguarding its essence and mission.

The “Critics’ Corner” once again demonstrated that criticism remains both alive and indispensable. In Kastellorizo, among filmmakers, audiences, and critics, the power of dialogue and the importance of film literacy were highlighted. In an era of rapid change, criticism continues to evolve, remaining a valuable companion to cinema and society.

Nikolaos Aletras
Edited by Robert Horton
© FIPRESCI 2025