Film criticism, interviews, and repertory notes
Whether you want to send a screening note, pitch a piece, or ask a practical question about a repertory season, this is where to start. We read everything, but we answer fastest when your message already includes the venue, the format and the date.
57293 Fortuin Crossing
North Werner, GP 0188
Letters and press mail reach the editorial desk here. Please allow a few days before following up.
Best for time-sensitive screening questions, volunteer shifts and same-week logistics.
Use this for pitches, screening notes and interview requests. Attach transcripts as plain text or PDF.
On midnight marathon nights the desk stays open until the last reel, but replies may land the next afternoon.
Short answers to the things readers, volunteers and first-time contributors ask before they write to us. If your question is not here, the contact page is the right place to start.
Write down the venue, the format, the date and one moment that stayed with you. That is usually enough to start. Send it through the contact page and we will reply with a few follow-up questions if we need more detail.
No. A clear point of view and accurate details matter more than a portfolio. Send a short summary, the screening context behind it and any relevant credits, and we will tell you honestly whether it fits the journal.
Print condition, subtitle availability and interval timing are the three things that change a night. Our season notes list what we know about each run, so you can plan around a scratched reel or a longer-than-usual break.
Yes. The breakdowns walk through lighting setups, lens choices and editing rhythm using films you can still catch in Gauteng. Students often read them alongside a screening, then revisit the notes afterwards.
Start with the queue-management observations from Braamfontein and Maboneng. They cover door counts, ticket-check placement and how to stagger a snack bar so the second film does not start with a line down the block.
Still unsure where to go? Reach the crew through the contact page, or read how we handle submissions and reader notes in our policy.
A few working definitions, so nobody arrives at a screening or a pitch meeting with the wrong idea of what this journal does.
When we ask for a screening note, we mean four facts and one moment: the venue, the format, the date, and the thing you kept thinking about on the drive home. We are not looking for a star rating or a verdict on whether the film is good. A note can be three paragraphs long and still be complete.
A repertory season is built around what is actually available to screen, not around a wish list. Print condition, subtitle availability and interval timing shape the programme before any curatorial idea does. If a reel is scratched or a subtitle track is missing, that is part of the season, and we say so in the notes.
Our cinematography and editing breakdowns are written for people who want to look closer, not for people who want a score. They describe lighting setups, lens choices and cut rhythm in plain language, with the assumption that a student in Gauteng can follow along without access to a grading suite or a festival pass.
No prior publishing experience is required to pitch. What we do ask for is a short summary, your screening context, and any relevant credits. A clear angle and accurate details matter more than a polished cover letter. If the piece is about a venue or a programme, tell us which one and when you were there.
We do not cover financial speculation, gambling, adult material or anything framed as an investment opportunity. We are not a listings site and we do not sell tickets. Everything published here is written by credited contributors, and every screening note is tied to a real room, a real date and a format we can name.