January 21, 2023 NEWSLETTERS / SE-ASIA Can Southeast Asian Indie Cinema Continue Its Momentum In 2023?
December 21, 2022 NEWSLETTERS / SE-ASIA Is Southeast Asia Becoming The New Europe?; Local Indies Thrive On Funds, Labs & Co-productions
December 4, 2022 NEWSLETTERS / SOUTH ASIA Nadav Lapid controversy at IFFI Goa; Ravish Kumar resignation from NDTV
November 21, 2022 AFRICA / CHINESE-SPEAKING / NEWSLETTERS / SOUTH ASIA ‘Joyland’, ‘Nice View’, FFI, NSOC And Other Issues Facing The Oscars’ Best International Feature Category
October 23, 2022 NEWSLETTERS / SE-ASIA / SOUTH ASIA Busan Business; India Becoming The New China; Southeast Asian Festival Circuit
September 26, 2022 MIDDLE EAST / NEWSLETTERS Saudi Filmmaker Aymen Khoja On How To Build A Film Industry From Scratch
September 16, 2022 CHINESE-SPEAKING / NEWSLETTERS / SOUTH ASIA Summer Box Office Picks Up In East Asia, But It’s All About The Blockbusters
September 9, 2022 CHINESE-SPEAKING / NEWSLETTERS / SOUTH ASIA Can ‘Brahmastra’ Save Bollywood? Why ‘Return To Dust’ Is A Surprise Hit In China
September 2, 2022 CHINESE-SPEAKING / KOREA & JAPAN / NEWSLETTERS / SE-ASIA / SOUTH ASIA Streamlined Returns; Summer Streaming Summary; Festival Circuit Redux
May 31, 2022 CHINESE-SPEAKING / KOREA & JAPAN / MIDDLE EAST / NEWSLETTERS So that was Cannes 2022: a return to the new normal