Co-productions

5 stories

Viet Nam News — Life & StyleVietnamViệt Nam pitches archives, co-production, incentives at Tokyo film festival Vietnamese Ambassador Phạm Quang Hiếu said cinema can add cultural and human depth to the Việt Nam-Japan Comprehensive Strategic Partnership.

10.31

Cartoon BrewInternational Anime Producers Discuss Challenges And Benefits Of Co-Production At TIFFCOM Producers compare public funding in Europe with Asia’s reliance on private investment, exploring how international partnerships can bridge the gap.

10.30

SCMP FilmHong KongHow Hong Kong cinema forever changed after Cepa and the mainland China co-production boom Hong Kong cinema has always thrived on a certain kind of beautiful madness – precisely the quality local audiences cherish most.

10.30

NFVF (South Africa)

NFVF (South Africa)AfricaCall for Applications: South African Producers to Attend the Berlinale Co-Production Market Visitors Programme 2027 The Department of Sport, Arts and Culture (DSAC), in partnership with the National Film and Video Foundation (NFVF), invites eligible South African producers to apply for an opportunity to attend the…

09.16

CineuropaEuropeSpain’s Impulse Cinema and Italy’s Fandango enter strategic partnership - Industry / Market - Spain/Italy The cross-border pact aims to open up new co-production pathways while strengthening the international reach and sales prospects of projects originating from both…

09.05

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