Hier könnte auch NOBODY 3 draufstehen:
Keine besonders einfallsreiche „Story“, aber das Ding scheint zu rocken. Schließlich saß unser geschätzter FFF-Gast Kirill Sokolov (WHY DON’T YOU JUST DIE!) auf dem Regiestuhl:
Für die Animefans – Trickfilmversion von EDGE OF TOMORROW, bzw. dem gleichnamigen Buch von Hiroshi Sakurazaka:
Allerdings, sogar der gleiche Schauspieler.
Leonine und Warner, den dritten lass ich mal weg, mit dem VÖ Datum sind das klare Nights Titel.
Allerdings, da kann man trailergesehen schon mal die 10 Punkte auspacken und sich vorfreudig gleich nochmal den Vorgänger anschauen. 
Oder die 6-7 Punkte, wenn man Herr_Kees ist. 
Creepy stuff from A24.
Von diesen drei Filmen gibt’s zwar noch nicht viel zu sehen, Starttermin soll aber tatsächlich für alle noch dieses Jahr sein (obwohl die IMDb bei THE EXORCIST 2027 angibt):
EVIL DEAD BURN
https://www.imdb.com/title/tt31170389
Zach Cregger’s RESIDENT EVIL
https://www.imdb.com/title/tt35538033
Mike Flanagan‘s THE EXORCIST
https://www.imdb.com/title/tt32492552
(Das mit dem „noch nicht so viel zu sehen“ bezog sich eigentlich auf den Produktionsstatus, aber offenbar verweigert die IMDb jetzt auch Vorschaubilder…bei Letterboxd sieht es genau so aus… @todi ?)
Es liegt wohl an den Seiten selber, auf meta.discourse.org geht es auch nicht. 
Grundsätzlich funktioniert es noch:
Also der neue Spielberg Disclosure Day würd mich auch interessiern. Als science fiction mäßiges würd der doch zu den nights passen.
Näh, das wird wohl leider nix, alleine schon zeitlich gesehen dürfte das nicht hinhauen… Der Streifen soll seine (Welt-?)Premiere scheinbar wohl am 15. Mai haben, und dann aber auch schon regulär ab dem 12.06.2026 in den bundesdeutschen Kinos starten. Für die Nights also zu spät, und fürs Haupt-Festival zu früh. Aber auch davon ab dürfte es wohl mittlerweile reichlich illusorisch sein, dass die Rosebud-dies noch solcherlei schwere Brocken in einer derartigen Größenordnung an Land ziehen können. Das mag in den 90ern („The Fifth Element“) und den Nullerjahren („District 9“) noch geklappt haben (sowohl „Pulp Fiction“ als auch „Blair Witch Project“ lasse ich hier mal aussen vor, weil das damals ja beides eher noch unter dem Radar fliegende „Überraschungs“-Erfolge waren), heutezutage dürften diese Filme aber einerseits viel zu teuer sein, und das ganze Drumherum nicht passen (siehe dazu auch die Interviews mit Rainer Stefan, die @todi vor ein paar Jahren mal geführt hat), und zum Anderen die, wenn überhaupt, dann wohl auch für andere Festivitäten geblockt sein. Ich kann mir das jedenfalls beim allerbesten Willen nicht vorstellen, dass Rosebud heuer noch mal so ein Coup gelingt. Schon gar nicht, wenn es auch noch ein Film von Regie-Großmeister Steven Spielberg ist.
Ja da hst du recht, aber man kann ja träumen.
https://www.imdb.com/de/title/tt34381258/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_heel
https://www.imdb.com/de/title/tt37287335/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_obsession
Das wird ja richtig inflationär mit den guten Jungs 
THE GOOD BOY hat auch schon einen vielversprechenden Trailer:
Von OBSESSION würde ich ganz stark ausgehen (ob für die Nights oder fürs Hauptfestival weiß ich allerdings nicht), der war in Sitges der absolute Crowdpleaser und entwickelt sich inzwischen auch ansonsten international zum extremen Hype. Ist auch wirklich superklasse 
https://www.imdb.com/title/tt38607959/?ref_=ext_shr_lnk
Der neue starbesetzte und amerikanische Quentin Dupieux!
Ein Nights Kandidat:
Wie vermutlich die Meisten wissen werden, sind am vergangenen Wochenende nicht nur die White Nights, sondern ist auch das diesjährige Sundance Film Festival zu Ende gegangen… Das erste ohne Mit-Begründer Robert Redford (R.I.P.), und das letzte, das noch in Park City stattfindet, bevor das Festival dann nach Boulder, Colorado umzieht. Hier mal ein paar (wie üblich rein persönliche) (more or less) genre related movie picks aus dem diesjährigen line up:
ACHTUNG !!! Alle verlinkten reviews und Videos können potentielle spoiler beinhalten !!!
„At times, the growing silliness undercuts the austerity of its real-world tragedy. Luckily, Miao pulls it all together at the end, and „Rock Springs“ lands as a poignant - dare I say tearjerking - horror ode to diaspora, lost homes, and ghosts suspended in time. [The movie] may not be a wholly accomplished debut, but it does signal Vera Miao as a filmmaker to watch. It’s a hodgepodge of subgenres with a real tragedy at its core, and while it struggles to exceed the sum of its parts, some of those parts sure are something. „Rock Springs“ may not rock your world, but its commitment to Miao’s vision is stirring enough to make it one of the better horror movies out of this year’s festival. [I]n a few years, I suspect we’ll all be looking back to see where Miao first got going. Come for the supernatural jitters, stay for the big, monstrous heart.“
„"Rock Springs” remains both shivery and affecting as it tracks the spectral echoes from [the] tragedy [that lies at it’s heart] to its 21st-century domestic drama, intelligently shedding light both on a buried historical hate crime and the ongoing microaggressions experienced by Asian-Americans across the country today. […] Miao has a brisk, tingling command of atmosphere, and [even] if she occasionally seems still in search of a style all her own, this promising debut has a human touch and point of view that are rather more distinctive within the genre.“
„Cinematographer Heyjin Jun cuts through the sadness with breathtaking images of forest and landscape, showcasing the beautiful land spoiled by blood and hate. Tran gives a compelling performance [and] excels as a woman haunted by her husband’s death and afraid to embrace the traditions that give her daughter comfort. She has great chemistry with newcomer Kim, a gifted young actress who manages to be expressive while rarely uttering a single word.„Rock Springs“ is a big swing from Miao that pays off in the end, blending drama, horror and ugly American history to create a truly heartbreaking and hopefully healing experience.“
" “Saccharine” functions as a cautionary tale for the mania caused by a relentlessly body-conscious culture, tainting everything from friendly conversation to punitively aspirational Instagram feeds. [The movie] does much to deglamorize its gaze, beginning with the scuzzy lighting and seasick palette of DP Charlie Sarroff’s lensing. But it’s aurally that the film is most disquieting. Hannah Peel’s inventive score merges gasping vocal expressions with grinding, dehumanized mechanical instrumentation, while sound designer Robert Mackenzie eerily amplifies shortened breathing, groaning physical exertions and, of course, the regular chomp and smack of chewing. It all amounts to a kind of anti-ASMR — if anything, you leave “Saccharine” craving some sensory underload."
" [In t]he climactic scenes, the logic falls apart; [some story] threads virtually evaporate without much payoff. And at just under two hours, the movie could seriously benefit from cutting some flab.„Saccharine“ is more polished in its technical aspects than in its storytelling, from the queasy visuals ([DoP] Sarroff shot „Relic“, as well as both „Smile“ movies) and sickly lighting to composer Hannah Peel’s eerie synths to some impressively gnarly gore. Ultimately, however, the biggest plus is Francis, whose commitment to the central role is so unfaltering that she makes the script’s rough patches less of a deal-breaker.
James has no lack of talent, but fans of „Relic“ who were hoping this might be a return to form after the mixed-bag „Rosemary’s Baby“ prequel „Apartment 7A“ - either as a juicy serve of Cronenbergian feminism or a movie with something to say about accessible weight-loss meds - will likely be disappointed."
" „Saccharine“ is at its strongest, when it’s focused on the disquieting decline of Hana, an assured and intelligent med student slowly coming undone by an increasing loss of self-control. It’s a sturdy metaphor that works when James keeps it focused and simple. The longer the runtime forges on, though, the less focused [the movie] becomes. […] „Saccharine“ continues James’ trend for unpacking her personal experiences for a broadly relatable horror metaphor, and her ability to instill discomfort for large stretches. Francis remarkably brings Hana’s quiet interiority to the surface along with all her messier emotions. But it’s too sparse and underdeveloped for its length, a potent short film stretched past its brink.
James mirrors her protagonist in that she seems to bite off more than she can chew in trying to cover all ground when it comes to disordered eating. Luckily, „Saccharine“ makes its stance on diet culture clear with grotesque imagery, suitable body horror freakouts, and an unwavering feeling of dread, enough to balance the scales."
"[Director] Kelly’s pop-culture omnivorousness begins to make itself felt. He turns “Buddy” into a genre mash-up that takes off on everything from slasher movies to Little Red Riding Hood’s journey into the woods to “The Wizard of Oz” to the arrival of a singing cowboy and his Howdy Doody puppet pal to the id of Buddy laid bare…as a black-demon-skeleton version of Godzilla!
For all that, I got more mild chuckles than big laughs out of “Buddy", and I glanced at my watch a couple of times, because this kind of conceptual satire doesn’t always have the narrative propulsion a movie needs. Yet Casper Kelly is a talent to watch. In “Buddy", he’s essentially reviving an old joke and doing multiple variations on it. But he has a gleefully rich understanding of the inner insanity that can drive pop culture. “Buddy” is, at heart, a surrealist contradiction, a hate letter made with love."
„Kelly plays with form in ways that some might find exasperating, but there is always a method to his madness and „Buddy“ goes out on a psychedelic high, like an extraordinary experiment in mind control.Like Jane Schoenbrun’s „I Saw the TV Glow“, [this movie is] about what television means to us - how much we invest in what’s clearly fake, not what it actually is. On a metaphorical level, it deals with growing up, too. On a murkier level, it might also be a comment on the exploitative nature of having children play-act in these fantasy worlds, and the recent Nickelodeon scandal comes uncomfortably to mind. The ending is a headscratcher but in the best possible, almost Lynchian way, hinting at dark, existential riddles that stay longer in the mind than its crowd-pleasing moments of gross-out comedy.“
"[„Buddy“ is a] nesting doll of media that begins with a meticulous recreation of a kids’ TV show that quickly turns bloody, the film proceeds to take audiences down a rabbit hole that transcends mediums and timelines as a group of cute kids try to figure out how to stop a giant orange unicorn from murdering them. It’s as twisty and stimulating as Kelly’s most complicated work, but it’s all wrapped in a premise that’s simple enough to reach beyond his core audience: What if [the popular U.S.-kids’ TV show] „Barney & Friends“ was a horror movie? […] While Kelly’s dark humor and conceptual ambition are the main attraction, [the movie] would also be worth seeing for the production design alone. “Buddy” is everything you could want from a midnight movie. It gets harder and harder to find something that feels fresh enough to be truly shocking and executed competently enough to transcend its gimmicks, and we should all celebrate when we find one."
" Adriana Paz delivers a staggering performance as Luz, a woman haunted by the harm inflicted on herself, her co-workers, and her family. Set across two tense nights in the aftermath of the bus driver’s assassination, [„La Cazadora“] builds with mounting dread. I was completely immersed in a city where the ghosts of missing women roam the streets. Drawing on elements of magical realism, the film allows memory, trauma, and the spiritual world to bleed seamlessly into everyday life. Correa transforms Juárez into a liminal space where the past refuses to stay buried. […] It’s a film that sustains its atmosphere with extraordinary control. There are scenes that left me completely on the edge. I was genuinely fearful for what might happen to those onscreen. […] [This movie] could only be made with such devastating power by a filmmaker attuned to the daily calculations women make to simply get by. There’s a scene in a bus ride filled with the ghosts of women who disappeared that still haunts my thoughts. I was completely caught off guard by the film’s power. When the film was over, I found myself thinking back to that opening scene. Faces emerge only long enough to be seen before slipping back into darkness. People appear, then vanish. In retrospect, the sequence tells us everything we need to know about “La Cazadora”. As the story unfolds, that initial image begins to reverberate everywhere. Women move through the city knowing how quickly they can be swallowed by it. Mothers search for what the ground has hidden. Ghosts ride buses alongside the living as reminders of those who never made it home. This is the mark of a great filmmaker. Correa does not explain her ideas; she embeds them in images."
" Andrews Correa roots the story in an unforced working-class sensibility and a powerful sense of place. María Sarasvati Herrera’s widescreen camerawork captures an edge-of-the-world emptiness in the flat stretches of desert that surround the city, and a heartless chill in the horizontal grid of workstations stretching across the factory floor. The darkness of the night scenes is thick with danger, and the tension throughout the film, along with its sense of emotional unraveling, is ratcheted up by the sound design […] Whether Luz’s pain will dissipate remains in doubt, but in Paz’s exceptionally compelling performance, it’s clear that she’s done waiting for justice. And she’s accepted the price."
"[The director] isn’t concerned with holding our hands while we navigate the harsh realities of the women living here. Paz’s performance is captivating and suffocating all at once. Correa doesn’t shy away from the mental and physical tolls of abuse, from young women showing up to work late, covered in bruises, to Luz breaking down as her daughter touches her. Th[ose grim] depictions of violence are hard to stomach, and for some viewers, it might be too much. But it’s used to remind us why these women are so passionate about ending that same kind of harm for future generations. Where [the film] falters is its pacing, starting out with a bang of tension that fizzles out during its second act, only to pick back up just as the film enters its final moments. […] The strength within the performances, and Correa’s examination of how powerful women’s collective voices can be, are highlighted by picturesque visuals of Mexico throughout the film. Cinematographer Maria Sarasvati Herrera only intensifies the unease of „The Huntress“ with her unique style. When Luz is experiencing her anxiety attacks, the camera locks onto her face, forcing the audience to look her in the face while she’s panicking. Or when Ximena stands against a police detective, the camera zooms out to show a crowd of like-minded moms. While the film’s runtime begins to be felt midway through, „The Huntress“ still has enough strength in its performances, visuals, and themes to be more than worth a watch. Correa’s writing and directing are another promising female voice within filmmaking that has an important story to highlight. She uses women’s pain without exploiting it for shock value, giving them the ability to tell their trauma their way."
Gut, soweit erstmal. Es fehlen nun noch die neuseeländische „XXXtraterrestrial Goo“-Komödie „Mum, I’m Alien Pregnant“, der neue Gregg Araki-Film „I Want Your Sex“ und das queere Konversions-Therapie-Horror-Drama „Leviticus“. Die reiche ich dann aber allesamt zu einem späteren Zeitpunkt nochmal nach, samt reviews und Videos.
Ich glaube, das ist ein altes Poster. Der war mal für März ‘26 geplant, wurde aber um ein Jahr verschoben.
