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

IndieWire

Will ‘Behemoth!’ Push Pedro Pascal Into Oscar Contention?

October 3

The movie star is front and center in Tony Gilroy's love letter to film music. But will the Music Branch accept The Behemoth! Collective?

Read at IndieWire ↗

More from IndieWire on Cinepuuulse

‘Josephine’ Director Beth De Araújo Delivers Powerful Speech Condemning Cornell Rape Case IndieWire

‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves IndieWire

One letter a week, in your inbox.

Latest

Will ‘Behemoth!’ Push Pedro Pascal Into Oscar Contention?

More from IndieWire on Cinepuuulse

‘Josephine’ Director Beth De Araújo Delivers Powerful Speech Condemning Cornell Rape Case IndieWire

‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves IndieWire

What Has the Last Decade at Netflix Done for David Fincher? IndieWire

Will Nathan Fielder and Lance Oppenheim’s ‘You Can See Everything’ Score a Best Picture Nomination? Not If Oscar History Is Any Guide IndieWire

SCAD Savannah Film Festival Lineup Includes ‘Being Heumann,’ ‘A Talent for Murder,’ and More IndieWire

‘Cameron Winter at Carnegie Hall’ Review: PTA’s Spellbinding Concert Doc Is a Gorgeously Tender Performance IndieWire