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Are you passionate about Asian cinema? Do you have a keen eye for storytelling that goes beyond borders? Asian Movie Pulse is on the lookout for talented writers to join our dynamic team!
asianmoviepulse.com/2019/10/…
"Our crime and punishment. Returning to zero is not an option."
Godzilla Minus Zero (2026) by Takashi Yamazaki Film Review
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Dong Jie discusses Zoom In, Zoom Out, the creation of its video game, digital identities, his filmmaking approach and Chinese cinema.
Dong Jie on Zoom In, Zoom Out, Video Games, Digital Identity and Chinese Cinema
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In juvenile detention centres, a group of young people who rarely have the chance to make decisions for themselves are given the opportunity to tell their own stories through a camera
We Are Alive (2010) by Yau Ching Documentary Review
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JAFF Market 2026 announces 14 producers for its inaugural Producers Exchange, fostering international co-production and partnerships with Indonesian filmmakers.
JAFF Market Names Inaugural Producers Exchange Lineup
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AnimEigo's The Anime Business Episode 21 features Anime News Network's leading editors discussing anime journalism and the site's history.
The Anime Business Episode 21 Explores Anime News Network’s History
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"A gambler's blood never lies."
Tazza: The Song of Beelzebub (2026) by Choi Kook-hee Film Review
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A distinctive Himalayan ghost story with strong sound and deadpan humor, though repetition and excessive length limit its impact.
The Ink Stained Hand and the Missing Thumb (2026) by Yashasvi Juyal Film Review
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The Asian Film Awards Academy’s International Film Camp 2026 brings emerging filmmakers and industry mentors together in Macao.
International Film Camp 2026 Concludes Five Days of Creativity in Macao
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CJ ENM’s “Street Restaurant Fighter” earns a Realscreen Awards nomination, highlighting the global appeal of Korean unscripted programming.
CJ ENM’s “Street Restaurant Fighter” Nominated for Realscreen Awards
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A wholly enjoyable and engaging Vietnamese murder-mystery/slasher hybrid.
Karaoke Murder (2026) by Hoang Le Film Review
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Dong Jie’s ambitious debut explores digital identity and alienation with formal ingenuity, though its mystery eventually becomes repetitive
Zoom In, Zoom Out (2026) by Dong Jie Film Review
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Leon Cheo's Orang Minyak delivers effective supernatural horror, although its intriguing social themes need more room to develop.
Orang Minyak (2026) by Leon Cheo Short Film Review
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Makoto Nagahisa's Burn is a visually stunning Japanese drama featuring an excellent performance by Nana Mori and pointed social commentary.
Burn (2026) by Makoto Nagahisa Bad Accent Review
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"This is not a war film; it is a disaster film."
Wen Muye on War, Food and the Sweetness and Hope Amid Hardship
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Spooky Encounters (1980) by Sammo Hung
The main reason to love this charming film is its unique mix of slapstick comedy, mad action, good martial arts and amazing stunt-work with the addition of horror and supernatural. It also has two extremely likeable elements, one is Sammo Hung, of course, and the other is the ‘Jiangshi’ or hopping vampires. With all its imperfections, “Spooky Encounters” was one of the first jiangshi films and it went on to open the way for many future titles and inspired a whole new sub-genre of Hong Kong cinema. Few years later, in 1985, we will have the classic “Mr. Vampire“, followed by all its numerous sequels and films like “The Dead and the Deadly“, “Vampire vs. Vampire“ and also more recent revamps (no pun intended), like “Rigor Mortis“ and “Vampire Cleanup Department“.
Video Review:
youtu.be/j-a--3MbK_I
Five Flavours takes place simultaneously at three Warsaw venues from 10 to 17 November, and online across Poland to 6 December.
Great Classics at the 20th Five Flavours Asian Film Festival
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In Thy Name and Quezon lead the 74th FAMAS Awards with four wins each, while Maricel Soriano and McCoy de Leon receive acting honors
In Thy Name and Quezon Lead 74th FAMAS Awards With Four Wins Each
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Tetsuo: The Bullet Man
Given the nature of Shinya Tsukamoto’s “Tetsuo: The Iron Man,” the idea of turning it into a series or franchise seems quite strange, to say the least. Not that there is anything wrong with seeing and hearing more of the world the Japanese filmmaker showed us in the first one, but given its experimental, industrial design, to name one aspect, you might wonder whether there's more to say that would legitimize more movies. In some ways, these critical voices considered “Tetsuo II: The Body Hammer” as a confirmation of these doubts. Even though the look was still there and even creatively expanded by Tsukamoto, the idea of the machinist cult behind the transforming protagonist was not universally met with praise. You might even say it hurt the mysterious, powerful enigma behind the narrative of the two films, especially its parabolic concept and omnipresent ambivalence. Nevertheless, “Tetsuo II: The Body Hammer” was just as powerful as its predecessor, thanks to the cinematic techniques that Tsukamoto had perfected over time.
Read our review of Shinya Tsukamoto's Tetsuo: The Bullet Man on Asian Movie Pulse at the link in the comments below and let us know what you think of the film!
Our review of Shinya Tsukamoto's Tetsuo: The Bullet Man on Asian Movie Pulse: asianmoviepulse.com/2019/05/… @tsukamoto_shiny
Akiko Ashizawa reflects on creating unsettling domestic spaces, resisting familiar solutions and helping directors realise their visions without taking them over.
Akiko Ashizawa on Finding New Images, Supporting Directors and Making Films for the Cinema
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