Sinema Focus

5 stories

Sinema FocusAfrica‘Crescent on the Road’: Kenyan Feature About a Muslim Woman Navigating Nairobi’s Matatu Industry Set for December Premiere (EXCLUSIVE) Kenyan drama Crescent on the Road is set to premiere on 5 December 2026 at Unseen Cinema. Shot primarily on location in Nairobi’s Eastlands, Crescent on the Road follows Amina Hilal, a young Muslim…

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Sinema FocusAfrica‘Call Me Queen’: A Cautious Portrait of a Devastating Decade in Africa’s AIDS Crisis (NBO Film Festival Review) It’s been a while since I was as confused by the first ten minutes of a Kenyan film as I was watching , the international co-production directed by German-born, French-Iranian filmmaker Emily Atef.

10.19

Sinema FocusAfricaFive Filmmakers from Kenya, Uganda, Tanzania and Rwanda Selected for Docubox Short Fiction Development Grant and Lab has selected five filmmakers from Tanzania, Kenya, Uganda and Rwanda for its 2026 Short Fiction Development Grant & Lab, a new initiative supporting the development of short fiction projects in East…

10.19

Sinema FocusAfricaDaudi Anguka’s Political Action Thriller ‘Utata’ Now in Post-Production, Targets November 2026 Release (EXCLUSIVE) , the new political action thriller from Mombasa-based filmmaker Daudi Anguka, has entered post-production, with a theatrical release targeted for November 2026.

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Sinema FocusAfricaTanzania-Kenya Co-Production ‘The Ones With the Tempered Flowers’ Leads Durban FilmMart 2026 Awards With Five Wins Tanzania-Kenya co-production emerged as the most-awarded project at the , with the awards presented as the industry market wrapped up its 17th edition on 12 October.

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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