Cinepuuulse is a magazine, a radar and a diary about Asian cinema — Japan, Korea, China, Taiwan, Hong Kong, Vietnam, Thailand — read from Tokyo.
Our mark is 銀幕, ginmaku, the old word for the silver screen; it is the same two characters in Japanese, Chinese and Korean. A magazine, because every week one film is worth reading about slowly. A radar, because we count what the region's screens are talking about — box office, festivals, directors, anime, streaming — and show it as it moves. A diary, because a seal is set each day in that day's colour, and the days add up.
We read the local press in its own languages and bring it over in English: the Japanese film sites, the Korean trade papers, the Chinese culture desks, the Vietnamese and Thai entertainment pages. Everything here links back to the people who made it; the images belong to their authors.
Cinepuuulse will keep changing. New sources, new signals, new ways of looking — a little better each week, never finished. If a film here made you want to buy a ticket, that is enough.
Thank you for reading. ありがとうございます。
銀幕
![‘Moonfish’ Review: Lucy Liu & Morgan Spector Get Lost In A Beautiful, Perplexing Animated Sci-Fi Tale [Venice]](https://cdn.theplaylist.net/wp-content/uploads/2026/09/09175108/113629-MOONFISH_-_Official_still__1_.jpg)
![‘NAZA’ Review: The ‘No Other Land’ Filmmakers Return With A Chilling, Comprehensive Case Against Israel’s War Machine [Venice]](https://cdn.theplaylist.net/wp-content/uploads/2026/08/28141336/photo-NAZA-venice-1024x683.jpg)
