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

Pełna SalaPoland

Projekt: Klasyka – rok 1956

September 27

Wczesna jesień to w Projekcie: Klasyka czas, w którym przyglądamy się najlepszym filmom lat pięćdziesiątych.

Read at Pełna Sala ↗

One letter a week, in your inbox.

Latest

Projekt: Klasyka – rok 1956

More from Pełna Sala on Cinepuuulse

PolandEkstaza złota – recenzja filmu „Dziki, dziki wschód” – 51. FPFF Gdynia 2026 Pełna Sala

PolandTrup w szafie – recenzja filmu „Kvinde ukendt” – Wenecja 2026 Pełna Sala

PolandAutostradą do bliskości – recenzja filmu „Flesh and Fuel” Pełna Sala

PolandPiętro wyżej – recenzja filmu „Földszint” – Wenecja 2026 Pełna Sala

PolandSwoboda myślenia o filmie. Wywiad z Gáborem Reiszem – Wenecja 2026 Pełna Sala

PolandJLB par JLB – recenzja filmu „Biografía de Jorge Luis Borges” – Wenecja 2026 Pełna Sala