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

Senses of Cinema

Playful Provocation: Hypermediacy in Mario Bava’s Danger: Diabolik

09.01Work

We begin with a heist. But not quite – we really begin with an elaborate ploy, a project of misdirection.

Read at Senses of Cinema ↗

One letter a week, starting soon.

Latest

Playful Provocation: Hypermediacy in Mario Bava’s Danger: Diabolik

More from Senses of Cinema on Cinepuuulse

Kill, Baby… Kill! Senses of Cinema

The Faces of Mario Bava’s Black Sabbath Senses of Cinema

Filmmaking at the end of the world: The Quiet Earth Senses of Cinema

Crimes Against Reality: Speculation and the New Red Order Senses of Cinema

Feeling the Screen Story’s Pulse: Karen Pearlman’s Cutting Rhythms: Creative Film Editing Senses of Cinema

An Interview with Giulio Bertelli Senses of Cinema