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

← Cinepuuulse Archive

The Korea HeraldKorea

[Grace Kao] AI and the ‘Terminator’ films

10.19

Stories about artificial intelligence dominate the news. Jacob Coxon, a former Anthropic employee who recently resigned, warned: “Do not underestimate the power of this technology…

AI in film All News

Read at The Korea Herald ↗

VietnamKhó ai làm được như Điền Hi Vi Tuoi Tre

VietnamNữ chính nhiều phim AI 'dùng chung một khuôn mặt' VnExpress

France"J'ai écrit un scénario, mais…" : Quentin Tarantino donne des nouvelles de son dixième et dernier film AlloCiné — actu ciné

AustraliaGenerate Crew seeks generative VFX trainee for ‘high-profile’ production in Sydney IF Magazine

France“J’ai voulu des images qui donnent le temps de réfléchir à ce qui s’est passé à Gaza” : entretien avec le réalisateur de “Qui vit encore” Télérama — Cinéma

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