The teaser reveals Daniel Day-Lewis as Ray Stoker, a solitary figure living in the remote woods of Northern England. His quiet life is disrupted when his brother (played by Sean Bean) appears—forcing a reunion that peels back layers of trauma, estrangement, and unspoken violence. The tone is contemplative and emotionally crushing, emphasizing mood over spectacle. Co-written by Day-Lewis alongside his son Ronan—who also signs his feature directorial debut—Anemone marks Day-Lewis’s return to the screen and invites reflection on legacy, guilt, and family redemption.

The teaser unfolds in Ramsden, Yorkshire, where World War I rages. With men enlisted or absent, Dr. Guthrie (Ralph Fiennes) assembles a makeshift choral society composed of injured veterans and spirited teenagers to perform Elgar’s The Dream of Gerontius. Layered with emotional humor and heartfelt camaraderie, the trailer highlights how harmony and purpose emerge through song despite the grim backdrop of war. Written by Alan Bennett and directed by Nicholas Hytner. In cinemas November 7, 2025. 

The trailer follows Morgan (Allison Williams) and her teenage daughter Clara (McKenna Grace) as they grapple with the sudden loss of their husband/father. Strained apart by grief, a startling family revelation—hinted through emotional flashpoints and silent anguish—forces them to confront betrayal, shift their perceptions, and reforge their bond. Amid this emotional upheaval, Clara’s relationship with her classmate Miller (Mason Thames) and a complex reconnection with Jonah (Dave Franco) add layers of love, loyalty, and forgiveness. The tone is a poignant blend of heartbreak and hope.

The teaser plunges us into Linda’s escalating anxiety: juggling caregiving, a decaying home, and a motel stay. Each fragment—broken ceilings, draining coffee, clinical relationships—brings piercing dread. Rose Byrne’s Linda delivers one haunting line (“Everything is under control”) amid chaos that’s far from contained. With Conan O’Brien as her dispassionate therapist and A$AP Rocky as a mysterious motel neighbor, the trailer delivers tense realism wrapped in dark, wry comedy.

In the teaser, the same film crew that captured Scranton at Dunder Mifflin directs its lens toward the Toledo Truth-Teller. Domhnall Gleeson stars as Ned, a well-meaning but overwhelmed editor determined to revive the local paper with a team of enthusiastic yet inexperienced reporters. Oscar Martinez (Oscar Nuñez) turns up reluctantly behind the desk, muttering “Not again.” The tone blends awkward humor, media satire, and workplace eccentricity while honoring The Office’s legacy.

The teaser unfolds with Brendan Fraser’s character reluctantly stepping into the bizarre world of Tokyo’s rental family industry—serving as a stand-in husband, father, or brother. Initially there to play a role, he gradually forms authentic bonds, especially with a young girl named Mia, challenging what’s real and what’s acting. The trailer masterfully balances heartfelt warmth, playful quirkiness, and emotional depth as he rediscovers belonging through performance.

The trailer introduces a charming yet sharp quartet living in a British retirement village: a former spy, union leader, psychiatrist, and nurse. They pass the time solving cold cases for fun—until they encounter a genuine murder involving a developer and a cryptic photograph. With wry humor, warm camaraderie, and cheeky British wit, the film teases both cozy laughs and intriguing mystery. The teaser also reveals that each member becomes a suspect, adding tension to their amateur detective game.

The trailer opens on Whitney in the male-dominated tech startup scene, watching the rampant problem of unsolicited explicit messages—“pervasive dick pics”—go unaddressed. After reporting is dismissed, she is sidelined by the company she helped build. Undeterred, Whitney embarks on her own bold mission: “We need to change the rules of online dating,” she declares as she founds Bumble, where women make the first move. The footage balances raw indignation and pioneering grit, tracing the arc of empowerment, resistance, and transformation in the digital age.

The teaser opens with somber tones and courtroom imagery as psychiatrist Douglas Kelley is sent to evaluate Nazi war criminals—most notably Hermann Göring. What begins as professional duty spirals into tension: Kelly and Göring engage in a chilling mental duel behind prison bars, as prosecution led by chief prosecutor Robert H. Jackson ramps up. With brief but powerful visuals, the trailer underscores themes of justice, evil’s banality, and moral reckoning. It’s framed with urgency: “The world will bear witness…” signaling the scale and stakes of one of history’s defining trials.

The trailer introduces Lily and Sam, young twins living with their widowed father Malcolm on an isolated homestead. After discovering an arcane spellbook in the cellar, the siblings begin questioning their mother’s mysterious death and whether their father harbors supernatural ties. Atmospheric visuals—mist-shrouded woods, flickering lanterns, shadowy interiors—evoke haunting folklore and slow-burn dread. As Lily’s emerging psychic abilities awaken, tension grows: their journey into the unknown becomes a confrontation with grief, family secrets, and the unexplainable. Few words, but a palpable unease pervades the cinematic tone.

The teaser introduces Daisy Moriarty, a content moderator (Lili Reinhart), whose days are spent blinking through flag queues and disturbing clips. When she encounters a video she believes contains real violence—not merely staged fetish content—her obsession pushes her past company rules. As she investigates unsanctioned leads, the psychological toll of moderating the darkest corners of the internet becomes deadly. Stuck between professional quotas and personal justice, she must decide: is holding someone accountable worth risking everything? The tone is minimalist yet haunting—a morality play set in the digital underworld.

The trailer introduces Roman (Dylan O’Brien) navigating the aftermath of his identical twin’s death, haunted by grief and identity loss. At a bereavement support group, he meets Dennis (James Sweeney), another twin survivor. Their friendship blossoms into intense dependency, offering solace—but when Roman meets Dennis’ coworker Marcie (Aisling Franciosi), unsettling secrets surface.

A tonal shift mid-trailer reveals the story’s unexpected layers—a Hitchcockian edge emerges amid awkward humor, identity complexity, and emotionally raw revelations. Themes of masculinity, trauma, and connection are explored with both discomfort and empathy. The filmmaking is emotionally precise, surprising, and darkly funny. Viewed at Sundance, where Twinless won the Audience Award and O’Brien earned a Special Jury acting prize, the film impressed critics with its daring emotional honesty and sharp framing.

The trailer brings us jaw‑dropping close-ups of Edie behind the wheel—an ex-con turned driver-for-hire—when an unscrupulous ex-employer offers her one last job: a casino heist to save her ex-boyfriend’s life. John, her chronically unreliable ex, is drowning in debt to crime boss Nico, played by Andy Garcia. With $3 million at stake, Edie teams with John and a crew, including Randall Park and Marshawn Lynch, in a high‑octane chase across cities. Expect gritty humor, tense camaraderie, and a wickedly stylized tone punctuated by bloody violence, adult language, and chaotic action.

The trailer reveals Joan in a surreal afterlife realm known as “the junction,” where she has just one week to decide where—and with whom—she will spend eternity. Waiting are Larry, the man she built her life with (Miles Teller), and Luke, her first love who died young but has waited decades for her arrival (Callum Turner). Afterlife coordinators Anna (Da’Vine Joy Randolph) and Ryan (John Early) humorously guide her through the rules. A blend of wit and poignancy unfolds as Joan reconnects with Luke’s lingering romance and wrestles with the one she shared a lifetime with, charting a decision both timeless and emotionally charged.

Tony investigators interrogate Amanda in intense scenes recreating the infamous 2007 interrogation, exposing relentless media scrutiny and cultural bias. Through tense courtroom drama and flashbacks of college life in Perugia, the trailer explores how a study abroad turned into a global nightmare. Amanda, portrayed by Grace Van Patten, revisits painful memories and legal battles with emotional clarity, charting a 16-year pursuit of justice. The teaser highlights the investigation’s flaws, her eventual acquittal by Italy’s highest court in 2015, and her later work as an advocate for the wrongfully convicted. Amanda Knox collaborated closely as executive producer to reclaim the narrative and underscore broader themes of empathy, identity, and systemic injustice.

The trailer opens with military-grade precision as a younger Ben Edwards trains with Navy SEALs before transitioning into the CIA’s shadowy world. Scenes of tactical raids, espionage briefings, and intense night ops emphasize his shift from brotherhood to calculated detachment. Chris Pratt’s James Reece makes a limited but poignant return—shadowing Ben’s rise and the eventual fracture that triggers betrayal. Tom Hopper appears as Raife Hastings, a key ally in Ben’s journey. The tone is gritty and introspective, mapping a path of loyalty, psychological strain, and the costs of clandestine warfare.

The trailer opens in Paris, where Tony and Ziva are raising their daughter, Tali, after Ziva’s return from presumed death. Their peaceful life shatters when Tony’s security company falls under cyberattack, forcing them into a high-stakes chase across Europe. The tone blends action‑thriller and romantic comedy: fast cars, shadowy assassins, Interpol pursuit—and steamy chemistry reignited. A flash of Ziva in a wedding dress hints at unresolved love tension. As Tony quips that their life is now “cops, assassins, killer cars,” it reveals just how far they’ll go to protect family and trust.

Set in autumn 1943, the teaser opens with the crew of a Tiger tank sent far behind enemy lines under enigmatic orders. Fueled by methamphetamine, their journey spirals into moral decay and existential dread. The confined, steel-clad environment becomes a crucible: soldiers confront fear, drug-induced delirium, and the erosion of purpose. Harsh visuals and clipped dialogue underscore the growing psychological abyss. As one voice-over warns, “We reap what we sow,” suggesting a deeper reckoning within—and beyond—the machine.

The first trailer opens in real-time on the evening of March 31, 1943, as Lorenz Hart escapes the Broadway buzz surrounding his former collaborator’s Oklahoma!. Amid the iconic glow of Sardi’s bar, Hart battles despair while colleagues celebrate. Scenes shine a light on his internal collapse—shaved head, diminished stature, and emotional unraveling, as he drinks and rants to sympathetic bystanders. Intercut with archival-style reflections on his life and work (“Blue Moon,” “My Funny Valentine”) the visuals emphasize theatrical ruins, moments of regret, and sudden intimacy. The tone is both elegiac and lyrical, inviting empathy for a creative soul slipping away.

The teaser introduces Im Dong-hwan, a blind painter revered for his uncanny ability to recreate portraits from memory. When he paints his late mother, long-hidden truths unravel as he and his twin father—also a character in the film—begin unlocking a 40-year-old mystery. Scenes shift from muted studio interiors to charged close-ups, painting a cinematic canvas of grief, trauma, and blurred perception. The atmosphere is eerie yet introspective, signaling Yeon’s signature balance of emotional weight with moral ambiguity. ([turn0search13]turn0search13)

The Ugly will world-premiere in TIFF 2025’s Special Presentations section, showcasing Yeon Sang-ho’s transition from kinetic spectacle to meditative human drama.

The trailer opens with sweeping volcanic panoramas and leaders of the Ash People—fire-wielding Na’vi who reject Eywa’s authority—headed by the fierce Varang (Oona Chaplin). Ash arrows ignite forests, and Naomi Sully is shown confronting Varang with raw defiance. Back in the Metkayina and rainforest regions, Jake and his family—still mourning their son Neteyam—face schisms among Na’vi clans. Colonel Quaritch resurges as a recombinant, marked by tribal war paint, forging uneasy alliances with the Ash People. Inter-tribal conflict unfolds across fiery battlefields and soaring aerial sequences, juxtaposed with scenes of mourning and moral ambiguity as alliances fracture and loyalties are tested.