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

Slant MagazineUSA

‘Heil Jupiter!’ Review: Carlos Reygadas’s Transgressive Vision of a World Unmoored

October 1

Quite the coincidence that Mexican writer-director Carlos Reygadas is premiering the unhinged Heil Jupiter!

Read at Slant Magazine ↗

One letter a week, in your inbox.

Latest

‘Heil Jupiter!’ Review: Carlos Reygadas’s Transgressive Vision of a World Unmoored

More from Slant Magazine on Cinepuuulse

USA‘Carrie’ Review: Mike Flanagan’s Bloody, Tragic Adaptation of a Stephen King Classic Slant Magazine

USAReview: Jacques Tourneur’s Noir Classic ‘Out of the Past’ on Warner Archive 4K UHD Blu-ray Slant Magazine

USAReview: ‘I Deserve a Lover Whose Every Rise Sets Fiery Dooms Raging Across the Skies’ Slant Magazine

USA‘Verity’ Review: Michael Showalter’s Colleen Hoover Adaptation Is All Setup, No Payoff Slant Magazine

USA‘Joy of Joys’ Review: Jonathan Glazer’s Unusually Saccharine Portrait of Childhood Obliviousness Slant Magazine

USA‘Digger’ Review: Alejandro González Iñárritu’s Satire of Corporate Power Digs Its Own Grave Slant Magazine