La Biennale di Venezia — Cinema

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La Biennale di Venezia — CinemaItaly2 films from Biennale College Cinema selected for the Oscars Becoming Human by Polen Ly will represent Cambodia, One Woman One Bra by Vincho Nchogu will represent Kenya.

October 15

La Biennale di Venezia — CinemaItalyFigures for the 83rd Venice International Film Festival 117.656 tickets sold (+14 % compared to 2025, already a record year).

September 13

La Biennale di Venezia — CinemaItalyOfficial awards of the 83rd Venice International Film Festival Announced by the five international Juries during the Awards Ceremony that was held on Saturday 12 September at 7:00 pm.

September 12

La Biennale di Venezia — CinemaItalyCollateral Awards and Events of the 83rd Venice Film Festival Independently awarded by associations of film critics, clubs and cultural associations, and cinema professionals.

September 12

La Biennale di Venezia — CinemaItalyAwards of Final Cut in Venice 2026 The initiative intends to provide concrete assistance in the completion of films from Africa and from Iraq, Jordan, Lebanon, Palestine, Syria, and Yemen.

September 9

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