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 ‘Wild Horse Nine’, de Martin McDonagh (Perlak)

September 22

La ironía y el cinismo que parecen recorrer la obra de Martin McDonagh son en realidad excusas, poses para disimular lo que en el fondo es un corazón blando y sensible.

Read at Micropsia ↗

One letter a week, in your inbox.

Latest

San Sebastián 2026: crítica de ‘Wild Horse Nine’, de Martin McDonagh (Perlak)

More from Micropsia on Cinepuuulse

Argentina‘Wild Horse Nine’ San Sebastian Review: Martin McDonagh Turns The Allende Coup Into A Blackly Funny Tale Of Friendship And Regret Micropsia

Argentina‘The Bad Father’ San Sebastian Review: A Family Confronts Decades Of Estrangement Micropsia

ArgentinaSan Sebastián 2026: crítica de ‘El mal padre’, de Roberto Bueso (Competición) Micropsia

Argentina‘Therapy Done Right’ San Sebastian Review: Ricardo Darín Gets Dangerously Close to His Patient Micropsia