After 13 years of publishing in print and online, The Lumière Reader is taking a break.
For reasons both personal and financial, the site will cease publishing its regular mix of film criticism and arts journalism from March 31, 2016.
While we can’t say when or even if the site will come out of hibernation, we can assure readers it will remain online as a resource for as long as we can pay the bills.
From day one, The Lumière Reader has been a labour of love. In the beginning, it was established as a place for serious film criticism in New Zealand. Then it grew to encompass the wider arts scene, curating everything from essays, to long-form interviews, to poetry, to documentary filmmaking. More recently, it narrowed its focus to artists and practitioners, not merely through critique but also advocacy and conversation, particularly around collaboration, creative process, and what it takes to make art in this country. Through all of this, it remained ad-free and subsisted on the smell of an oily rag.
Under the volunteer model the site is run, it should have folded long ago—and yet it has endured since 2003 precisely because of its long roll call of contributors. We hope you’ll continue to follow these talented people elsewhere and appreciate their work as much as we have, whether they are writing for other publications or practicing as artists, novelists, poets, musicians, journalists, theatremakers, photographers, illustrators, and filmmakers.
And finally, thank you to the readers for sharing and supporting what we do. You’ve helped us achieve a longer innings than most, from a time when there was a paucity of arts and culture websites in New Zealand, to the present, where the local online publishing landscape is now livelier than ever.
The Lumière Reader