I’m notorious for talking myself out of rooms before I’ve even gotten out of bed. And there in bed I sat, slouched over my HOCCI application in the middle of my inner saboteur’s best speech: I am a film noob. What position was I in to critique it?
As it turns out, the perfect position. If you love something and want to be part of the movement that celebrates it and the people who make it, you are in the perfect position to learn the art of critique and become a critic. Your voice doesn’t need a Harvard PhD to matter.
Critique is the art of evaluating a film and its components—from what appears on screen and the shots used to the acting, as well as analyzing the history and inspiration behind its creation. It’s an art form that can elevate an unknown but talented artist, discuss important societal issues, or critically analyze films that never should have happened (cough cough ALOHA).
Throughout the festival, our cohort met with several mentors who shared their unique approaches to critique. These included Emerson Goo, a deaf writer and film programmer with numerous publications; Dino Ray Ramos, an award-winning journalist and Diaspora podcast founder and host; Taylor Ramos and Tony Zhou, the film critic duo behind Every Frame a Painting turned filmmakers; and Jen Yamato, a film reporter with Deadline Hollywood and co-host of the Asian Enough podcast.
I was especially inspired by Taylor Ramos and Tony Zhou’s masterclass, which equipped me with advice not just for criticism but for life. Their “one for us, one for them” ethos is a great practice for creative and artistic sustainability. Before choosing a project, they ask themselves, “What is your intention?” Simple yet powerful, it’s a concept I’ve adopted into my life. That day, I finally took action and made a big decision because I realized it didn’t align with my primary intention (thank you, Taylor and Tony!). And their audacity to become filmmakers after being film critics? I live.
One of the questions I asked each mentor was about their experience publishing honest reviews and whether they had faced backlash. They all had. Tony Zhou pointed out that, as a male, his experience with criticism was different and more lenient than Taylor’s. Still, all our mentors shared similar advice: stay true to your voice.
The critique space was never on my radar. Now, after listening to each mentor, I realize that criticism is essential for the critique space to be diverse. I mean, how can one shade be used on every film? It can’t. Thank you to all the minority critics in the room who have used their voices to highlight marginalized voices, their talent, and their stories. Thank you for speaking up in rooms largely occupied by cis-white males. Thank you for showing up and speaking out. As Emerson Goo said, “critique comes from a point of love.” We’re all just talking about something we love, trying to make it better, and bringing more people up with us. Critique is movement. Get with it.
Anette Arinix Amazing Aga is a comedian, actor, writer, and producer homegrown here in Hawai’i. She’s graced the stage with theater companies like Kumu Kahua, Manoa Valley Theatre, Mo’olelo Studios, and Stage Fish. Her writing has been featured in the Hawaii Comedy Festival and Kumu Kahua Theatre. In 2021, she co-produced the first Polynesian AF sketch comedy show with Asian AF at the 7th Annual Hawaii Comedy Festival. Anette has also produced shows like ImprovHI’s Comedy Rap Battles, Deck the Ha Ha Ha, and Stories Out Loud, inspired by The Moth. She is OVER THE MOON to have co-produced and starred in SO MUCH NATURE.
The HIFF ONLINE CREATIVES & CRITICS IMMERSIVE (HOCCI) program supports sustainable film criticism in Hawai’i through mentorship and paid career opportunities for Hawai’i-based AANHPI critics. The mission of HOCCI is to broaden diversity in film criticism across the Pacific and use influencer branding strategies to spark career opportunities. The 2024 HOCCI is supported by Critical Minded, a grant-making and learning initiative that supports cultural critics of color in the United States.
