Senses of Cinema

19 stories

Senses of CinemaAcousmatic Retention in Anne-Marie Miéville’s Le Livre de Marie

10.27

Senses of CinemaA Little Too Close to Home: Les Tricheurs

10.27

Senses of CinemaNights That Won’t Happen: Haunted Cities, Spectral Intimacies and Lost Futures in All of Us Strangers and The Beast

10.22

Senses of CinemaA Daughter of Revolution: Marta Mateus on her films

10.22

Senses of CinemaBig Questions in the Small Form

10.22

Senses of CinemaNakahira, Kō

10.22

Senses of CinemaDisobedient Images: DokuFest at 25

10.22

Senses of CinemaThe Heat is On (Generational Divides): The 79th Locarno Film Festival

10.22

Senses of CinemaIssue 119 Welcomes You!

10.22

Senses of CinemaThe art of shaping a festival: conversation with Karel Och, artistic director of the Karlovy Vary International Film Festival

10.22

Senses of CinemaGrain, Rebellion and the Radical Uses of Super 8 in Brazil

10.22

Senses of Cinema80 is the New 60: More Into than Out of the Past at the 2026 Karlovy Vary International Film Festival

10.22

Senses of CinemaHow to start a war: A Conversation with Ivan Ramljak

10.22

Senses of CinemaThink of the Children: Childlike Wonder and Death in the Films of Hayakawa Chie, Sōmai Shinji, and Edward Yang

10.22

Senses of Cinema“He is driving, but he is also driven by something”: Sebastian Brameshuber on London

10.22

Senses of CinemaCinema Macabre: The Mare and the Guillotine

10.22

Senses of CinemaWhen We Were Wolves: José Giovanni, Le Grand Collaborateur

10.22

Senses of Cinema‘The main character is the place’: seven days (and films) with Lisandro Alonso in Naarm/Melbourne

10.22

Senses of CinemaOdes and Occasions of Art Cinema, at TIFF 51

10.22

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