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

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BeyazperdeTürkiye

33. Uluslararası Adana Altın Koza Film Festivali'nde İzleyici Ödülü'nü Kazanan "Canavar"ın Yönetmeni Tunç Şahin ve Ekibiyle ile Özel Röportaj

October 12

Tiyatro sahnesinde yakaladığı benzersiz dokuyu ve seyirciyle kurduğu güçlü bağı beyaz perdeye taşıyan Tunç Şahin , aynı isimli tiyatro oyunundan sinemaya uyarladığı " Canavar " filmiyle 33.

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33. Uluslararası Adana Altın Koza Film Festivali'nde İzleyici Ödülü'nü Kazanan "Canavar"ın Yönetmeni Tunç Şahin ve Ekibiyle ile Özel Röportaj

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