This study aims to understand the sentence, “In place of a hermeneutics we need an erotics of art” that Susan Sontag suggested in the last sentence of her essay named “Against Interpretation”. Although this sentence only takes place at the end of the essay like a mystical expression having no return, this text does not trace its roots to decode its hidden meanings or it does not directly seek clues about the trace of this sentence in the author’s own work. Instead, it turns to thinkers from different historical periods who hold critical thoughts close to Sontag herself, with a view that preserves the film itself and its form. From the point where Sontag’s “erotics of art” suggestion points out the experimental sensual aspect of criticism, The Skin of the Film of Laura Marks has resorted and the tactual/haptic potential of the same suggestion is attempted to be questioned over the videographic criticism. We think that the concept of film criticism resists representative analyses somewhere on the surface of videos and we implicitly see that one way or another, film studies have almost compulsorily turned to philosophy as the latter allows a certain amount of time to understand, to embody, and most importantly, to think as digital film criticism allows us to think in “slow-motion” somehow.