MUBI Notebook

24 stories

MUBI NotebookRemake, Remodel, Remarket

10.19

MUBI NotebookMovie Poster of the Week | F.W. Murnau’s “Faust”

10.16

MUBI NotebookMUBI Podcast | “Pulp” Live!: Jarvis Cocker and Garth Jennings Capture the Power of Pop

10.15

MUBI NotebookWhat the Image Hides: Tai Katō and the Art of Partial Vision

10.13

MUBI Notebook“Water Lilies” in One Shot

10.12

MUBI NotebookKnow Thyself: Eric Rohmer’s “Élisabeth”

10.08

MUBI NotebookRushes | Paramount Officially Acquires Warner Bros., Social Media Platforms Reject “Musk,” “You Can See Everything” Trailer Drops

10.07

MUBI NotebookBumper-to-Bumper Traffic

10.05

MUBI NotebookLife at Its Wildest: Werner Herzog on “Bucking Fastard”

10.01

MUBI NotebookMembers Only: Cabal-Core Horror in the 21st Century

09.29

MUBI NotebookPirating the Pirates

09.28

MUBI NotebookMovie Poster of the Week | The Posters of the 1976 New York Film Festival

09.25

MUBI NotebookRushes | Venice and TIFF Announce Awards, Paramount Settles Antitrust Lawsuit, “Cliff Booth” Trailer Drops

09.23

MUBI NotebookSummer/Fall 2026 Festivals

09.22

MUBI NotebookToronto Filmmaker Survey: Just One Moment

09.22

MUBI NotebookToronto Dispatch: The War Against Memory

09.21

MUBI NotebookThe Action Scene | “The Raid” at 15

09.18

MUBI NotebookDefending the Elusive

09.15

MUBI NotebookVenice Dispatch: The Garden of Forking Paths

09.14

MUBI NotebookSurvival Tactics: A Locarno Critics Academy Correspondence

09.11

MUBI NotebookCut and Spliced: A Locarno Critics Academy Correspondence

09.10

MUBI NotebookRushes | Remembering Dolly Parton, A24 Teases Nathan Fielder's Elizabeth Holmes Doc, the 100 Most-Screened Films in NYC

09.09

MUBI NotebookIt Was Once Fire: A Locarno Critics Academy Correspondence

09.08

MUBI NotebookThe Final Temenos

09.07

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