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銀幕

IndieWire

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IndieWireAmerican Film Market Will Rethink Networking Through Partnership with Indie Creator Platform Callo Exclusive: AFM will offer badge holders access to the operating system to enable filmmakers to more easily connect with buyers, financiers, and sales agents.

IndieWireJon Stewart Extends Weekly ‘Daily Show’ Hosting Gig Through 2028 Stewart will continue to host the show on Monday nights, with a rotating cast of correspondents handling the rest of the week, for the remainder of Trump's second term.

IndieWireHow Abel Ferrara and Joe Delia Made ‘Ms. 45’ a Grindhouse Classic, from Stealing Coppola’s Sound Effects to David Bowie’s Praise The director and composer look back on their exploitation classic as Delia prepares to perform the score live at a 45th-anniversary screening at the Southampton Playhouse.

IndieWire‘You Can See Everything’: Nathan Fielder Was So Skeptical He Could Break New Ground in Elizabeth Holmes Story, He Negotiated a Kill Switch with A24 Co-director Lance Oppenheim takes IndieWire inside the extremely unusual way his collaboration with Nathan Fielder and Elizabeth Holmes documentary came together.

IndieWireThe ’60 Minutes’ Overhaul Was Said to be Driven by New Ideas — You Can’t Tell That from Watching Prior to their tenure, Bari Weiss and Nick Bilton claimed CBS's popular news program was becoming obsolete.

IndieWireYet Another Netflix Stunner: Dan Lin Out as Film Chief After less than three years at the streamer, Lin is the latest high-powered exec to exit Netflix as it reorganizes its org chart and cuts around 1,000 jobs in the process.

IndieWireBreakout ‘Behemoth!’ Musician Lukas Frank Reveals What It’s Like to Give Tony Gilroy a Rewrite Composer Lukas Frank called Tony Gilroy's version of the “Behemoth!" original song “Your God Is Sleeping” a "’70s protest song." “It wasn't that lame,” joked the director at the Middleburg Film…

IndieWireLéa Seydoux Became Fearless After the Controversies of ‘Blue Is the Warmest Color’ — She’s Doing It Again with ‘Gentle Monster’ Marie Kreutzer's "Gentle Monster" is yet another example of how Seydoux explores the dark side of the human psyche. It could land her an Oscar nomination.

IndieWire‘La Bola Negra’ Earns $277,500 in Limited Release as Netflix Reports Box Office Results for the First Time in History Welcome to the exciting world of box office reporting, Ted Sarandos!

IndieWireHow Titmouse Animation Gave ‘Street Fighter’ Its Secret Sauce Studio co-founder Chris Prynoski told IndieWire about crafting the ‘90s anime-inspired flashback sequences for the video game adaptation.

IndieWire‘You Can See Everything’ Opens to a Staggering $15 Million, Securing A24’s Place as Hollywood’s Hottest Brand Audiences rushed to theaters as Nathan Fielder and Lance Oppenheim's Elizabeth Holmes documentary arrived shrouded in secrecy.

IndieWire‘Dirty Dancing’ Sequel Will Honor Patrick Swayze, as Producers Work with Jennifer Grey to Write Baby’s Next Chapter Producer Nina Jacobson also revealed why "Crazy Rich Asians" is getting an HBO series instead of a movie sequel at IndieWire's Future of Filmmaking Summit.

Festivals

映画祭 · What's on the festival calendar — Asia first, then the world — the films each region is talking about, and what its press is covering

On view

On screens this week the newest stills from the region's press

The wire the region's press, translated

How Asia watches in 2026 from the industry's own reports

Sources

Fetched every six hours, linked to the original

About

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