Skip to content

銀幕

Latest

Festivals

映画祭 · What's on the festival calendar — Asia first, then the world — the films each region is talking about, and what its press is covering

On view

On screens this week the newest stills from the region's press

The wire the region's press, translated

How Asia watches in 2026 from the industry's own reports

Sources

Fetched every three hours, linked to the original

About

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

MicropsiaArgentina

San Sebastián 2026: crítica de ‘NAZA’, de Rachel Szor y Yuval Abraham (Perlak)

September 25

NAZA no es un nombre propio sino un acrónimo de «Nezek Agavi», que en hebreo significa «daño colateral».

Read at Micropsia ↗

More from Micropsia on Cinepuuulse

ArgentinaSeries / Festival de San Sebastián: crítica de ‘Mis muertos tristes’, de Pablo Larraín (Netflix) Micropsia

ArgentinaEstrenos online: crítica de ‘Tierra prometida’ (‘Bastarden’), de Nikolaj Arcel (Prime Video) Micropsia

ArgentinaSan Sebastián 2026: crítica de ‘The Debut’, de Jesse Eisenberg (Competición) Micropsia

Argentina‘The Debut’ San Sebastian Review: Julianne Moore Lets Loose in Jesse Eisenberg’s Musical Comedy Micropsia

ArgentinaSan Sebastián 2026: crítica de ‘Growth of the Soil’ (‘Markens grøde’), de Hans Petter Moland (Competición) Micropsia

Argentina‘Growth Of The Soil’ San Sebastian Review: Hans Petter Moland’s Sturdy Epic Follows Two Norwegian Homesteaders Building Paradise From Scratch, Then Watching Progress Tear It Apart Micropsia

More from Micropsia on Cinepuuulse.