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- 26th Leeds International Film Festival Celebrates the Career of Kinuyo Tanaka
- 6 Must-See Films at the Osaka Asian Film Festival 2020
- A Discussion of Three Pre-1970 South Korean Female Directors: Park Nam-ok, Hong Eun-won, and Choi Eun-hee
- A Pinch of the 12th Five Flavours Asian Film Festival
- A Short Meditation on “Whatever”: Fruit Chan’s Made in Hong Kong (1997) [DCCFF 2017]
- A Tale of Two Men: Angel of Nanjing (China, 2015) and Gatekeeper (Japan, 2016)
- A Taste of the 11th Five Flavours Asian Film Festival
- An Ethnographic Exercise in Laos: An Analysis of The Rocket (Australia/Laos/Thailand, 2013)
- Asian Cinema Highlights of 2017
- Asian Cinema Highlights of 2018
- Asian Cinema Highlights of 2019
- Best of Asian Cinema in 2014
- Cartographic Acts & Spaces of Current (Independent) Philippine Filmmaking, Part 1
- Cartographic Acts & Spaces of Current (Independent) Philippine Filmmaking, Part 2
- Cartographic Acts & Spaces of Current (Independent) Philippine Filmmaking, Part 3
- Catch 'Em If You Can: An Incomplete Guide to Ninja on Celluloid
- China’s Box Office gets Loopy during Mid-Autumn Festival
- CRIME: Hong Kong Style, HOME, Manchester, UK
- Critiquing the Post Isolationist Chinese Youth Film [DCCFF 2017]
- Crowdfund This – Beer! Beer! by Fan Popo
- Doc Fortnight 2017 at MoMA, February 19-26
- East Winds Film Festival 2014
- Enslaving Ourselves to Digital Technology: On Nawapol Thamrongrattanarit's 36 and Freelance
- Festival Roundup: From Busan to Tokyo
- Five Flavours Film Festival 2016 Report
- Fleeting Romance in the Throes of Development: Lou Ye’s Suzhou River (2000) [DCCFF 2017]
- In Defence of Wang Tung's Nativist Trilogy: The Black Sheep of the Taiwanese New Cinema [DCCFF 2017]
- Internet Killed Le Video Store
- Itinerant, Invasive, Independent: Selected Works by Ju Anqi [CVF 2017]
- Japan Society celebrates the Guns, Girls & Ghosts of Shintoho
- Jia Zhangke Was Here: Beijing World Park in 2015
- Kickstart This – Coming Back Sunny by Noriko Yuasa
- Kickstart This – I Will Make You Mine by Lynn Chen
- Kickstart This – Ms. Purple by Justin Chon
- Kickstart This – The Depth of Yagen by Shigeru Okada
- Label Conscious: Japanese Cinema through the Third Window
- Leslie Cheung: Blamefully Beautiful
- Life Journeys: Four Thai Films at the Freer
- Life’s Extremes: Kazuo Hara and Sachiko Kobayashi’s Shifting Documentary Practices and Trilogy of “Living Dissent”
- Like a Moth to a Flame: A Profile on Cinematographer Mark Lee Ping-Bing
- Love Contractually (China, 2017): Average is Useful
- Nervous Translation (Philippines, 2017) and the tasks/processes of perception [New Directors/New Films 2018]
- New Media and Cultural Transformation Conference Report
- Not Just Another Star Wars Rip-Off: Kinji Fukasaku's Message from Space
- Of Time and the Image: A Preview of Select Asian Titles Screening at New Directors/New Films
- Osaka Asian Film Festival 2019 – Awards Ceremony Report
- Parachute Homes: Maineland & Where Are You From (Both USA, 2017)
- Park Chan-wook and Ultra-Violence: A Fascinating Two Decade Journey, from Obsession to Abhorrence
- Preview – Chinese Visual Festival 2018, May 3-6
- Redeveloping Nanjing
- Reflections on Surface Culture in The Mission (1999) [DCCFF 2017]
- RTHK: The Mecca of the Hong Kong New Wave [DCCFF 2017]
- Shinjuku Diaries: Films from the Art Theatre Guild of Japan
- Takashi Miike on First Love
- Thank You and Farewell to Midnight Eye
- The (Ir)reality of Images and Words in Hong Sang-soo’s Claire’s Camera (France/South Korea, 2017) and The Day After (South Korea, 2017) [AFI Fest & SDAFF 2017]
- The Bookworm Literary Festival 2015
- The Bookworm Literary Festival 2016: Catching Up with Beijing's LGBT Community
- The Bookworm Literary Festival 2016: Multiplex Dreams and Digital Frontiers
- The Bookworm Literary Festival 2016: Political Satire and Organised Dissent in Hong Kong
- The Celluloid Traveler: Miyamoto Musashi and Ganryu Island
- The Embodied Landscapes of Chloé Zhao’s Songs My Brothers Taught Me (USA, 2015) and The Rider (USA, 2017)
- The Hong Kong Second Wave and their Fascination with the 1960s [DCCFF 2017]
- The New King of Comedy (China, 2019): The Unexpected Shape-Shifting of Stephen Chow
- The Nightmarish Reality of Procedure in Old Stone (China, 2016)
- The Power of Zhang Yimou’s Metaphors and Colour Symbolism in Raise the Red Lantern (1991) [DCCFF 2017]
- The Sophisticated Shocks of Red to Kill (1994) [DCCFF 2017]
- TVB – A Necessary Evil in the Hong Kong Entertainment Industry
- Walking the Path of Carnage: A Profile of Meiko Kaji
- What's Next: 9+ Years of the China Independent Film Festival
- YAK Films, Hip Hop, And Public Space in South Korea
- Yasuharu Hasebe: Pink, Rape, Art.
- Zhang Wei Tackles the Sensitive Issue of Autism with Destiny (China, 2016)