Susan Sontag’s last writing about movies was in 1995; “in retrospect, it was her farewell to film criticism. Renunciation, along with such reverberant partners as epiphany, retraction, and reaffirmation, was one of her familiar dramatic modes. She brought a certain histrionic (i.e., Parisian) quality into American intellectual life—position-taking as existential drama—and, if you regard her seriously, the portentous turning points of her journey have to be endured. What she renounced, of course, was nothing like regular movie criticism. Sontag wrote only a dozen or so articles about film. Yet all of them were substantial, both as intellectual performance and as a challenge to conventional assumptions about movie form and routine reviewing.”