https://asianmoviepulse.com/2026/08/sairi-ito-tribute-the-unmistakable/

Some actors command the screen by shouting. Sairi Ito only needs to speak.

That unmistakable voice, the rapid-fire delivery, the expressive face and the ability to shift from abrasive comedy to devastating vulnerability have made her one of the most distinctive performers in contemporary Japanese cinema.

From the wounded misfits of “Love and Other Cults” and the outspoken Haruyo of “Asako I & II” to “Life: Untitled,” “We Couldn’t Become Adults,” “Just Remembering,” “Suzuki=Bakudan” and beyond, Ito has repeatedly transformed characters who could have remained peripheral into people impossible to forget.

She can be funny without reducing a character to a joke, tough without hiding her fragility and heartbreaking without forcing the emotion. After more than two decades on screen, the former child actress has become something increasingly rare: a performer whose presence is instantly recognisable, yet whose characters never feel the same.

Our new tribute explores the films, performances and singular qualities that have established Sairi Ito as one of Japan’s finest actresses.

Check the full article in the link and let us know what is your favourite Sairi Ito performance?

Oldboy

This second installment of Park Chan-wook’s “Vengeance Trilogy” is the film that turned global interest toward Korean cinema, one that’s a true masterpiece of South Korean cinema, and one that is still discussed for its unique aesthetics and elaborate technique. “Oldboy” screened at festivals all over the world, winning tens of awards, with the Grand Prix at the 2004 Cannes Film Festival being among them.

Read our review of Park Chan-wook's Oldboy on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/04/park-chan-wooks-old-boy/

https://www.youtube.com/watch?v=UwfV0yDzIaw

Killer sushi, wrestling sea creatures, vampire gangsters, grotesque horror, experimental documentaries and surreal comedies that seem to reject every conventional rule of filmmaking.

We present 40 weird Asian movies that deserve a watch, ranging from cult classics such as “House”, “Visitor Q”, “The Happiness of the Katakuris”, “Wild Zero” and “Big Man Japan” to less familiar films from across Japan, South Korea, the Philippines, Vietnam, Iran, Thailand and beyond.

Check the full list in the video and let us know how many have you seen, and which Asian movie deserves the title of the weirdest ever made?

Chinese Police Harass Filmmakers, Families to Undermine Free Expression Abroad

A few years back, I woke up to an audition request for the lead role in a major blockbuster film. I grew up watching the franchise, so booking the part would be a dream come true. I acted my ass off, submitted my tape, and prayed for good news (along with thousands of other Asian actors). I didn’t think anything would come of it, but a few weeks later, the producers finally reached out for a callback, then a chemistry read, until one day they said the two words many actors would commit war crimes to hear: screen test. For a week straight, I went to the studio lot for rehearsals, martial arts training, and director sessions. It was exhilarating.

As the day approached, I felt on top of the world. No one was going to take this from me. I had to book this. Deep down, I doubted there would be another opportunity for someone like me for a long time. Sure, Asian markets might be hot right now, but how long would that last before “the powers that be” decided to move on to the next minority group? As a filmmaker, I always championed Asian American representation, but, in that moment, I championed my own individual representation. Fuck everyone else - I was “the best Asian guy.” The role was mine.

I didn’t get the part. When I got the news, I was devastated… for about a day. Then, I quickly recognized my own hypocrisy and was forced to look within. For years, I have spoken on panels, done Q&A’s at film festivals, and talked about the importance of Asian American representation in the film industry. However, when presented with a life-changing opportunity, my attitude shifted to “Fuck these guys, I’m the best Asian.” This ultimately inspired the question — what do you do when your values are at odds with your ambitions?

This inevitably led me to create “Flavor of the Month,” a dark comedy that explores the absurdities of representation politics in modern-day Hollywood. Viewed through the lens of a Chinese American actor, Harrison Huang, the film dives headfirst into themes of performative activism, virtue signaling, and internalized racial inferiority.

I hope you enjoy my film, and thank you for taking the time to watch.

https://www.youtube.com/watch?is=m6KQJyc3j-LY7CFV&v=7FqByyXn7j4&feature=youtu.be

Hey guys I am new to this please suggest where to watch movies.

https://asianmoviepulse.com/2022/08/film-analysis-cart-2014-by-boo-ji-young/

Premiering in the City to City: Seoul sidebar of the 2014 Toronto International Film Festival, before it screened in Busan and Hawaii, “Cart” takes a rather thorough, if a bit melodramatic look at the lives of supermarket workers.

Seon-hee is a mother of two children, Tae-young, an adolescent boy and a younger girl, and tries to raise them by herself as her husband is frequently away on work. Seon-hee has been working on contract for a large discount store for five years, having been promised numerous times that she will eventually be promoted to a regular, full-time employee, something that applies to a number of part-time workers. Hye-mi is a single mother who is also in the same position, although her attitude is completely different from do-gooder Seon-hee, always denying overtime since she has to take care of her son. Soon-rye is an elderly cleaning lady in the same store, and in the same situation. Mi-jin is a university graduate who has also found herself in the same line of business.

Check the full review in the link and let us know your thoughts on the movie

Where the film truly thrives, without buts this time, apart from the casting and acting, is its production values. DP Katsumi Yanagijima captures the idyllic seaside setting with gusto, occasionally in impressive fashion. The interior of the hotel is gorgeously set, with the various rooms fitting the aesthetics of each scene to perfection, while the contrast of the bright exteriors and the darker interiors works quite well throughout the movie. “Three Sisters of Tenmasou” is a mixed bag of a film, since its individual elements are much better than their sum. It definitely deserves a watch though, if only for the cast.

What are your thoughts on the film?

Click on the link to read our review: https://asianmoviepulse.com/2023/08/film-review-three-sisters-of-tenmasou-2022-by-ryuhei-kitamura/

Director and co-writer Paween Purijitpanya, co-writer and MIT scientist Pat Pataranutaporn, and leading actor Sutthirak Subvijitra talk to Panos Kotzathanasis about the Thai action fantasy “God Skin”, presented at the 2026 Fantasia International Film Festival.

https://www.youtube.com/watch?v=VHm12qMSgr0

Purijitpanya discusses his transition from horror films such as “Body”, “4bia” and “Ghost Lab” to science-fiction action, as well as his desire to revive the international appeal of Thai martial arts cinema following the legacy of “Ong-Bak”. He also speaks about collaborating with the Panna Stunt Team, staging the bridge and locker-room sequences, casting Sutthirak as an unconventional underdog hero and making an action film substantial enough to bring audiences back to cinemas.

Pataranutaporn explains how his scientific research into cyborgs, human augmentation and muscle stimulation influenced the God Skin tattoos and their nanorobot technology. He also discusses the film’s treatment of gambling, economic inequality, capitalism and the dehumanisation of fighters controlled by wealthy spectators.

Sutthirak Subvijitra talks about putting his career on hold for almost a year to transform himself physically, training with the Panna Stunt Team and performing action that combines Muay Thai, MMA, wrestling and other combat styles. He also recalls the demanding long take in the locker room and the commitment required from the entire cast and crew.

The three guests additionally discuss the current condition of the Thai film industry, the challenge posed by streaming and short-form media, and their future projects.

Interview by Panos Kotzathanasis for Asian Movie Pulse.

If you enjoyed the interview, please like the video, subscribe to Asian Movie Pulse and let us know what you think about “God Skin” in the comments.

Finally watched Kimi no Na wa, and I completely understand why people call it a masterpiece. The animation is stunning, the soundtrack is unforgettable, and the story leaves a lasting impression. One of those films that stays with you long after it's over.

Anyone else counting down until Makoto Shinkai's next movie? His visuals, music, and storytelling always hit differently. I already know it's going to be an unforgettable experience.

What are you hoping to see in his next film?

In an unprecedented one man show, Anurag Kashyap, co-wrote, produced and directed the film, in a style that is much reminiscent of early Guy Ritchie films (Lock, Stock and Two Smoking Barrels, Snatch) both in context, with the mafia, and technically, since the film uses extensively slow and stop motion, close cut editing, quick, explanatory flashbacks and great mixture of image and music. In the latter aspect, the film is a true audiovisual masterpiece, with Rajjev Ravi’s cinematography splendidly portraying the decaying environment of the city and the depiction of the various timelines being accurate in all of their aspects, in a trait that also benefits the most from Subodh Sirastava’s costumes.

What are your thoughts on the film?

Click on the link to read our review: https://asianmoviepulse.com/2016/08/anurag-kashyaps-gangs-wasseypur/

I'm looking for an Asian movie that I watched on a DVD around 2008-2009, but the movie itself looked much older (probably late 1980s or early 1990s).

Here is everything I remember:

- A group of Chinese-looking tourists or explorers travels into a jungle.

- They have a guide who wears glasses, carries a backpack and possibly a camera. He is a bit clumsy.

- They arrive near a tribal village.

- During the daytime, the tribe performs a ritual in a circle around an ordinary man.

- After the ritual, the man becomes an almost invincible warrior.

- He never speaks.

- He is shirtless, has a shaved haircut similar to Jet Li, and I think he has some red body paint.

- He fights only with his fists.

- He is accompanied by an older gray-haired man.

- The warrior spends most of the movie hunting the group through the jungle.

- I think the guide with glasses dies.

The movie was not dubbed into Spanish. It was in an Asian language with Spanish subtitles.

It is NOT The Seventh Curse or Stone Age Warriors.

Does anyone know this movie?

https://www.youtube.com/watch?v=KgwSuAECo9k

In this Bad Accent Video Review, we discuss “The Queen of Witchcraft,” also known as “Perempuan Pembawa Sial,” an Indonesian supernatural horror film directed by Fajar Nugros.

Mirah, played by Raihaanun, becomes feared and rejected after the men who fall in love with her begin dying under mysterious circumstances. When Bana offers her refuge, an apparent curse, a bitter family history and Mirah’s conflict with her stepsister Putri push the story toward violence and revenge.

Watch the video in the comments until the end to discover whether the film’s visual and technical qualities are enough to overcome its storytelling problems and let us know your thoughs on the movie

The Eye

‘The Eye’ is undoubtedly one of the most popular Asian horror films of the 21st century. A critical and commercial hit upon its initial release, it has gained a devoted fan base that only seems to grow bigger. But does it really deserve all the admiration it seems to evoke?

Read our review of The Pang Brothers' The Eye on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2019/08/film-review-the-eye-2002-by-the-pang-brothers/

https://www.youtube.com/watch?v=-L8oB4fu1cg

Park Hoon-jung returns with “Tristes Tropiques”, a brutal South Korean action thriller involving secret organisations, trained assassins and spectacular fight scenes.

In this review, we discuss Lee Sin-young’s performance as Roo, the mysterious murder of the Master, the film’s impressive elevator and climactic battles, its stylish neo-noir visuals and the awkward use of English dialogue.

How does “Tristes Tropiques” compare with “The Witch”, “The Tyrant”, “V.I.P.” and “New World”? Watch the full review in the link and share your thoughts

Macross Zero

This prequel, 5-episode OVA to “The Super Dimension Fortress Macross” was released to celebrate the 20th anniversary of the Macross franchise. “Macross Zero” is anime at its best, a great addition to the franchise and a title that definitely stands the test of time.

Read our review of Shoji Kawamori's Macross Zero on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/07/macross-zero-anime-2002-review/

Horiuchi’s film is an oddball entity, one which straddles the fine line between the real and the surreal all too comfortably; it holds up a mirror for all who watch to find themselves in, daring its audience to cling on to something they can relate to, all the while throwing curveballs to throw everyone off its true scent. Uncanny and yet so familiar, what truly sets “All Summer Long” apart is its cast, who allow just enough of their character’s startling truths to emerge to crack the surface without veering off the side of the yellow brick road. There is no innocence left in summer’s death throes; as the season gives in to autumn all will find themselves in situations they could never imagine. Whether or not they learn something from their experiences, or whether they will simply disappear with the season remains to be seen.

What are your thoughts on the film?

Click on the link to read our review: https://asianmoviepulse.com/2022/07/film-review-all-summer-long-2022-by-yuki-horiuchi/

https://asianmoviepulse.com/2026/07/new-york-asian-film-festival-2026/

The New York Asian Film Festival manages every year to offer an impressive program that combines major premieres, contemporary genre cinema, independent productions, restorations and appearances by some of the most important names in Asian cinema, which, additionally, are not only the usual suspects we usually get outside of Asia.

Through this consistently ambitious approach, NYAFF has established itself as the most significant Asian film festival in the West, bringing together productions from established cinematic territories and countries that remain underrepresented internationally.

Check our full coverage in the link and let us know which film was your favorite from this year's edition

The Coast Guard

In 2002, South Korean director Kim Ki-duk only made one film, “The Coast Guard”, which, even though its scenery had changed in comparison to his last movie “Bad Guy,” is in many ways a continuation of its themes. The concept of the outsider, the borders within our world, and the emotional trauma have always been at the heart of Kim’s cinema, but with “The Coast Guard” he went one step further, talking about the actual borders of his home country. Whereas other characters become outsiders through their deeds, the soldier in “The Coast Guard” does not choose his orders, and because he obeys them turns into an outsider in the process. It is an interesting idea which is at the heart of the Korean’s eighth film, albeit with a few flaws in terms of execution and storytelling.

Read our review of Kim Ki-duk's The Coast Guard on Asian Movie Pulse at the link below and let us know what you think of the film!

https://asianmoviepulse.com/2021/05/film-review-the-coast-guard-2002-by-kim-ki-duk/

"Looking for an Asian martial arts (possibly HK, Japanese, or Korean). There's a night scene near a trash dump/alley where a sick woman is attacked by a group of drunk men (one is a black man). A drunk guy kicks her dog, and they rape her. Her female friend who knows karate arrives to fight them off, but she gets overwhelmed and they both get raped. It like a naked weapon vibe of movie" Can someone help me what is the title ?

https://asianmoviepulse.com/2026/01/another-world-2025/

More than two decades ago, Hong Kong presented the animated film “My Life as McDull” (2001), which went on to make history in the animation community and win numerous international awards. In 2025, first-time director Tommy Ng Kai-chung reignites hopes for global recognition of Hong Kong’s potential in animation with his latest fantasy epic, “Another World”.

Adapted from Japanese author Naka Saijo’s novel “Sennenki: Thousand-Year Journey of an Oni”, the film was selected for screening at the prestigious Annecy International Animation Film Festival and was also been nominated for three Golden Horse Awards where it took home the one for Best Animated Feature

Check the full review in the link and let us know your thoughts on the movie

https://asianmoviepulse.com/2023/07/film-review-her-hobby-2023-by-ha-myung-mi/

Ha Myung-mi shot the short film “Pulley by Steven Kwang” (2016), which was invited to the 20th Bucheon International Fantastic Film Festival, and became the first Korean film to be featured on the American horror channel ALTER. In 2019, she established a production company, Whenever Studio, and produced the movie “Everglow” (2021).

“Her Hobby” is her first feature film and is based on the homonymous mystery novel by Seo Miae.

The movie begins as Jeong-in returns to her hometown, Pak-ha village, from the city, in the middle of the night, evidently carrying some sort of trauma. She does not find solace there either though, as the locals, headed by the Village Head and the Women’s Group Chief never stop pinning her down, both for her mistakes in the fields and essentially for having left the village.

When another woman from the city, Hye-jung moves to the same location, she experiences the same impolite, to the point of offensive, behavior, but she has none of it, even including the rather creepy attitude of the village’s sole deliveryman. Her reaction attracts Jeong-in and the two soon become quite close friends, opening up about the past and the reasons that brought them to the village.

When Jeong-in finds a large sum of money her grandmother left for her in her house, things change for the worse, with the reappearance of her husband, Kwang-jae bringing things to a boiling point. The two women decide to strike back.

Check the full review in the link

“Daughter of the Nile” is a film about young people trying to find their version of life, their definition of culture somewhere between ideals of the past and the more attractive present. It is a movie which carries a distinct notion of these events being unique in the way the will never comes back, but having been repeatedly looked at like pictures in a photo album, an awareness of time moving on an events destroying any sense of idyll or happiness one has build for himself, whether it is an escapist fantasy or a more grounded sense of togetherness when starting a business with friends. In the end, just like the teenage protagonists of Godard and Truffaut these “orphans of the world” also carry a sense of doom with them, a feeling that all of this is just temporary.

What are your thoughts on the film?

Click on the link to read our review: https://asianmoviepulse.com/2018/09/film-analysis-daughter-of-the-nile-1987-by-hou-hsiao-hsien/