MUBI Notebook

24 stories

MUBI NotebookTIFF: The Market: The Review

11.02

MUBI NotebookThe Action Scene | Impact Factor: The Hong Kong Connection in Contemporary Thai Martial Arts Cinema

10.30

MUBI NotebookMUBI Podcast: Encuentros | “Into the fire”

10.29

MUBI NotebookMultiplex | Ghoulish Globetrotting

10.29

MUBI NotebookTender Buttons

10.27

MUBI NotebookMore Visible Abroad than at Home: Nigeria’s New Art Cinema and the Country that Can’t Screen It

10.26

MUBI NotebookThe Current Debate: The Unbearable Preachiness of Alejandro González Iñárritu's “Digger”

10.23

MUBI NotebookTable of Contents | Notebook Issue 9: “Smoke and Mirrors”

10.22

MUBI NotebookRushes | Netflix Fires Chief Content Officer, Soderbergh Takes Over “The Batman Part II,” R.I.P. Eva Marie Saint

10.21

MUBI NotebookMasao Adachi: Demystifying a Legend

10.20

MUBI NotebookRemake, Remodel, Remarket

10.19

MUBI NotebookMovie Poster of the Week | F.W. Murnau’s “Faust”

10.16

MUBI NotebookMUBI Podcast | “Pulp” Live!: Jarvis Cocker and Garth Jennings Capture the Power of Pop

10.15

MUBI NotebookWhat the Image Hides: Tai Katō and the Art of Partial Vision

10.13

MUBI Notebook“Water Lilies” in One Shot

10.12

MUBI NotebookKnow Thyself: Eric Rohmer’s “Élisabeth”

10.08

MUBI NotebookRushes | Paramount Officially Acquires Warner Bros., Social Media Platforms Reject “Musk,” “You Can See Everything” Trailer Drops

10.07

MUBI NotebookBumper-to-Bumper Traffic

10.05

MUBI NotebookLife at Its Wildest: Werner Herzog on “Bucking Fastard”

10.01

MUBI NotebookMembers Only: Cabal-Core Horror in the 21st Century

09.29

MUBI NotebookPirating the Pirates

09.28

MUBI NotebookMovie Poster of the Week | The Posters of the 1976 New York Film Festival

09.25

MUBI NotebookRushes | Venice and TIFF Announce Awards, Paramount Settles Antitrust Lawsuit, “Cliff Booth” Trailer Drops

09.23

MUBI NotebookSummer/Fall 2026 Festivals

09.22

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