Film critic — Anna Smith

After completing her degree, Anna achieved a Postgraduate Diploma in Journalism Studies at Cardiff University. She worked in various journalism roles before establishing herself as a leading UK broadcaster and film critic

How relevant are your qualifications to this role?

At the University of Leeds, I studied feminist writers, and I wrote about film in my 'Gender And Popular Culture' option. I adored that, and I think it fanned the flames of the feminist fire in me.

My journalism studies course provided an excellent grounding in professional journalism - I learned a lot about the discipline of writing and filing as a freelancer.

Why did you decide to become a film critic?

As well as being a film lover, I enjoy analytical writing. The process of advising audiences on what they might enjoy is satisfying. It also offers great variety - while it's one medium, film touches on every topic you could think of.

For instance, one minute, I might be writing about a war documentary, the next a coming-of-age LGBTQIA+ drama, and then an action thriller. This variety is exciting and educational, and discovering fantastic new talent is a privilege.

How did you get into this industry?

In my twenties, I edited various specialist magazines, covering topics as diverse as navigation and dance music/club culture.

While I was assistant editor at a women's magazine, Minx, I accepted free tickets to a film screening. I was hooked. Being able to watch a film and then share my opinion of it was a dream. When Minx folded, I went freelance and built up connections at Time Out, where I was doing shifts in the TV section. Eventually, the Film section commissioned me, then Sight & Sound, Empire, Metro and more titles followed as I built up a profile and a great reputation.

I also started getting the opportunity to appear on TV and radio commenting on film news stories, which led to my getting an agent and finding work presenting the BBC News channel's The Film Review.

My agent is also a producer, and we co-founded Girls On Film in 2018. I have presented nearly 200 episodes of the podcast, and it has become a community and a highly respected annual awards ceremony.

When I became president of the Critics' Circle, it strengthened my relationship with its members, as well as distributors and publicists. For the last couple of decades, I have been honing the craft of moderating film Q&As, and I am happy to say I've now been referred to as one of the 'best in the biz'.

What tasks do you carry out on a typical day?

I usually spend the first hour or so catching up on emails related to all my freelance work with editors, film publicists, podcast producers, and so on.

If a film news story breaks, I might get a surprise phone call from a TV producer - or ten producers if it's a big story. If I'm free, I'll do a few quick broadcast hits (such as recording news or interview segments to be aired on TV or published online), but it depends on my schedule.

I attend a few film screenings a week, both in the day and evening.

I usually have a few deadlines to hit each week. I write about film for every issue of Waitrose Weekend, Saga magazine and Rolling Stone UK.

I record a Girls On Film episode roughly every fortnight - more frequently in awards season - and this could be on Zoom or on stage with an audience.

I moderate probably around one Q&A a week, but again, that varies depending on the season. It's one of the most enjoyable parts of my job (then again, all of it is enjoyable).

What three qualities are important for a film critic?

• integrity
• professionalism
• talent.

What are some of your favourite films, and how do they influence your critical approach?

• Portrait of a Lady on Fire - a groundbreaking film from the female gaze that represents so much of what we discuss on the podcast.
• Back to the Future - so slick and beautifully formed, the benchmark for mainstream, crowd-pleasing adventure.
• Secrets & Lies - wonderfully observed characters, often underrepresented on screen.

What are you most proud of achieving in your career so far?

Girls On Film. Seven years in, we are now known as the world's leading podcast about women in film - and new film directors tell me that it inspired them to take the helm. We're making a real difference.

How do you stay up-to-date with the latest films and trends in the industry?

I have a lot of Google alerts and I follow the Film Distributors' Association (FDA) release list closely, as well as industry websites and the Internet Movie Database (IMDb).

Talking to people in the industry is also really valuable, whether you're socialising at a party in Cannes or having a chat while you wait for a screening to start.

What advice would you give to others looking to work in this industry?

• Knock on all the doors - when I went freelance, I made a commitment to pitch to ten editors a day. I did that until I got enough work to make a living.
• Be versatile about what you do and have other strings to your bow - there's very little money in print film criticism now, sadly. This makes it especially important to make sure you ask for a fee, to keep the art alive.
• Play to your strengths and your passions - your enthusiasm for a topic should elevate your writing and shine through to the reader. And you're more likely to be remembered for a specialism than for being a generally good all-rounder, as useful as that is.

Find out more

• Explore the roles of broadcast journalist and writer.
• Consider studying a journalism course.
• Listen to the Girls On Film podcast.