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銀幕

Film Ireland

14 stories

Film IrelandIrelandReview: Mulholland Drive - 25 Years On 25 years on, David Lynch’s Mulholland Drive remains one of cinema’s most haunting and celebrated mysteries.

Film IrelandIrelandArticle: “We Need Stories That Bring Us Together” Academy Award-Nominated Writer Naomi Sheridan Named Austin Film Festival Finalist In 2004, Naomi Sheridan was nominated for an Academy Award at the 76th Academy Awards for Best Original Screenplay.

Film IrelandIrelandPodcast: Documentary Filmmaker Sinéad O'Shea on 'All About the Money' In this Film Ireland podcast, Gemma Creagh catches up with Director Sinéad O'Shea, as her latest feature All About the Money hits cinemas.

Film IrelandIrelandOpinion: Record Spending, Frozen Budgets: How Ireland Is Starving Its Own Screen Industry Ireland’s screen industry is making waves internationally, but can our success be sustained without greater investment?

Film IrelandIrelandArticle: “We Have Craftsmanship, Art, Vision, Colour, Texture.” Stories from México: International Cinema & Cultural Festival Last month, Stories from México brought a celebration of Mexican creativity to Dublin, inviting audiences to explore the stories, traditions, and shared cultural ties that connects our two nations.

Film IrelandIrelandPodcast: Filmmaker Philippa Lowthorpe (H is for Hawk, Three Girls, Prisoner 951) In this episode of the Film Ireland Podcast, we are delighted to once again partner with the Dinard British and Irish Film Festival , which held its 37th edition in the picturesque seaside town of…

Film IrelandIrelandArticle: “Everyone Has Their Own Internal Story,” Jack Desmond on Walking Holiday An office worker leaves his job behind to walk the Camino de Santiago in memory of his mother, but his journey takes an unexpected turn when he encounters a Galician grandmother on a mission to…

Film IrelandIrelandArticle: “It's About Letting the Camera Roll and Seeing What Happens” Niamh Barry on Something in the Air Blending the visual language of photography with the immediacy of documentary filmmaking, filmmaker Niamh Barry captures the beauty and unpredictability of the natural world in her latest short…

Film IrelandIrelandArticle: Behind the Behind-the-Scenes with Elephant Goldfish Last week, the Film Ireland mentees toured Ireland’s exciting new VFX and post-production studio, Elephant Goldfish. Judy Goulet reports.

Film IrelandIrelandArticle: 31 Days of Halloween Horror Jesus, but October has crept up on us fast this year. One minute you’re thinking the summer heat might last till Santa arrives, the next you’re doubling up on socks, eyeing up the animatronic witches…

Film IrelandIrelandPodcast: Eric Lagesse CEO of Pyramide at Dinard British & Irish Film Festival In this episode of the Film Ireland Podcast, we are delighted to once again partner with the Dinard British and Irish Film Festival , which held its 37th edition the weekend before last in the…

Film IrelandIrelandReview: Demon Wind To celebrate spooky season, Gar O’Brien-Collins shoots the breeze with this classic horror. A perennial fixture on both cult ’80s horror* and “films so bad they’re good” lists, Charles Philip Moore’s…

Film IrelandIrelandArticle: Daniele Rugo on Filming Gaza and the Responsibility to Remember (Part 2) What does it mean to bear witness to a genocide, and what responsibility do filmmakers have to ensure those stories are heard?

Film IrelandIrelandReview: Skintown Mick Jordan pops the good stuff for Kieron J. Walsh's latest feature which won last week at Dinard British and Irish Film Festival.

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 six 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