Curious Refuge

5 stories

Curious RefugeHere’s the Best AI Workflow for a 2D + Live Action Film In this article and tutorial, we’ll show you how to combine 2D animated characters, props, and effects with live-action footage using AI.

September 29

Curious RefugeSeedance 2.5 is Now HD! | AI Film News In this article and video tutorial, we’ll test Seedance 2.5 in 1080p, along with a few other pieces of AI Film News.

August 21

Curious RefugeFree AI Videos Just Got Way Better | AI Film News In this article and video tutorial, we’ll dive into LTX 2.5 and see how it compares to MiniMax H3, along with a few other pieces of AI Film News.

August 16

Curious RefugeWan 3.0 | Is it Better than Seedance 2.5? In this article, we’ll share our honest review of Alibaba’s Wan 3.0. Alibaba just released Wan 3.0 , its latest AI video model, and this update brings some pretty major upgrades.

August 14

Curious RefugeI found 16 WILD AI Filmmaking Tool Updates | AI Film News In this article and video tutorial, we’ll dive into a Seedance 2.5 multi-character reference workflow, along with a few other pieces of AI Film News.

August 7

Our mark is 銀幕, ginmaku — the silver screen, and the same two characters in Japanese, Chinese and Korean.

I came to Tokyo at twenty-three for a summer job at a Shibuya mini-theatre and the job never quite ended. Fifteen years of festivals later I still think the only review that counts is the one the room gives you: where the laugh lands, the moment three hundred people stop moving at once, whether anybody stays for the credits.

Cinepuuulse follows Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — across about a hundred and twenty sources. A good number of them are Spanish, French and Portuguese, because those countries programme this work seriously and write about it better than most of the English-language trade. Genre and art-house get the same seat here. I am not ranking them, and nothing is scored out of ten.

Each story is a headline, a short excerpt, one still and a link to the outlet that did the reporting. We never republish the piece, and the still belongs to its studio or its photographer. A Korean trade paper appears in Korean, a French review in French. We point at the work; we do not put words in anyone's mouth.

— Daren Wise, Tokyo