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

← Cinepuuulse Archive

BFI / Sight and SoundUK

Robert Eggers on Werwulf and his career in film: “Everybody is a bit of an island”

10.16

The director of The Witch, The Lighthouse and Nosferatu reflected on folklore, filmmaking and creative partnership at an LFF Screen Talk, where audiences were treated to the first footage from his…

Read at BFI / Sight and Sound ↗

More from BFI / Sight and Sound on Cinepuuulse

UKDanny Boyle on his tabloid chronicle Ink: “The attention economy, clickbait, the dopamine economy – this is its hatching point” BFI / Sight and Sound

One letter a week, starting soon.

Latest

Robert Eggers on Werwulf and his career in film: “Everybody is a bit of an island”

More from BFI / Sight and Sound on Cinepuuulse

UKDanny Boyle on his tabloid chronicle Ink: “The attention economy, clickbait, the dopamine economy – this is its hatching point” BFI / Sight and Sound

UKRevisiting Pakeezah, Hindi cinema’s great tragedy of desire and entrapment BFI / Sight and Sound

UK10 great black-and-white films of the 2020s BFI / Sight and Sound