Animation Magazine

7 stories

Animation MagazineAriel Award-Nominated Stop-Motion Short ‘Dolores’ Makes YouTube Debut Halloween has passed (boo) but spooky season lovers can keep the chills coming with Dolores, the festival favorite stop-motion short from Mexican director Cecilia Andalón Delgadillo.

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Animation Magazine‘Dive in Wonderland’ Brings a Twist on ‘Alice’ to Crunchyroll Anime Nights Tickets are now on sale for Dive in Wonderland (2025), the first Japanese theatrical animated adaptation of the world-famous classic Alice in Wonderland, coming to select theaters for one-day-only on…

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Animation Magazine‘Cloud Girl’ Inaugurates Viva Pictures’ ‘2027 Animation Celebration’ Theatrical Program North American indie family animation distributor Viva Pictures today announced the launch of The 2027 Animation Celebration, a year-long theatrical program that gives families a new PG animated film…

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Animation MagazineDirector Atsushi Nishigori Breaks Down the Brightly Colored Chaos of His New Triptych ‘Grotesqqque’ The eyeball-melting anthology feature film Grotesqqque is all about the rule of cool, a group of stories where the vibe and the look took precedent.

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Animation MagazineJapan’s Anime Industry Grew by $15.8% to $28.18 Billion Last Year According to AJA Special Report According to a special report shared by the Association of Japanese Animations (AJA) at TIFFCOM this week, Japan’s anime industry grew by 15.8% to $28.18BN (JPY4.45TR) in 2025.

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Animation MagazineNetflix’s ‘Cyberpunk: Edgerunners 2’ Lends Anime Flair to New ‘High Forever’ MV Netflix is looking to get anime fans pumped for its fall lineup, celebrating the recent launch of Cyberpunk: Edgerunners 2 with a new animated video for “High Forever” (Marlon Hoffstadt Remix).

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Animation MagazineEmile Awards Announce 2026 European Animation Winners The 5th edition of the Emile Awards (European Animation Awards | animationawards.eu) was celebrated with a ceremony at Etiuda & Anima Film Festival in Krakow, Poland on October 28.

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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