Jonathan Sim
NEON and GKIDS delivered one of the most eclectic and globally minded presentations at CinemaCon, leaning heavily into filmmaker-driven projects, international cinema, and bold genre storytelling while reaffirming their commitment to the theatrical experience. The showcase balanced prestige, provocation, and spectacle, offering a slate that ranged from kaiju blockbusters to intimate psychological dramas and boundary-pushing indies.
GKIDS kicked things off with a major announcement tied to Godzilla Minus One, confirming that its follow-up, Godzilla Minus Zero, will be filmed for IMAX, marking a historic first for a Japanese production of this scale. The sequel will continue to follow the same family introduced in the previous film, but the tone is set to grow even darker, with the panel teasing that “an even deeper despair will descend upon Japan and the family.”
A behind-the-scenes sneak peek emphasized the ambition behind the project, with a clear mission statement: “Let’s bring Godzilla to the world again.” The teaser, which made its world premiere at the panel, revealed that two years have passed since the events of the first film, only for a new threat to emerge. In a striking image designed to expand the franchise’s global scope, Godzilla is seen arriving at the Statue of Liberty, signaling a story that may extend far beyond Japan.
NEON’s portion of the presentation leaned into its identity as a curator of distinctive voices and theatrical-first storytelling. The studio reiterated its belief in the power of the big screen before rolling out a slate filled with singular filmmakers and daring concepts.
Adam Scott took the stage to debut a new trailer for Hokum, described as a haunted house story rooted in folklore and atmosphere, with tension that builds slowly before striking unexpectedly. The emphasis was on mood and creeping dread rather than jump scares, aligning with NEON’s tendency toward elevated horror.
That commitment to originality continued with I Love Boosters, the latest project from Boots Riley (Sorry to Bother You), who appeared alongside LaKeith Stanfield to present exclusive footage. The film was positioned as another bold, unconventional work from Riley, with Stanfield once again bringing a uniquely unpredictable presence to the screen. The panel framed both artist and actor as singular voices, reinforcing the sense that this project will push boundaries in both style and storytelling.
Among the more provocative titles unveiled was Leviticus, a queer love story with a genre twist that follows two teenage boys pursued by a violent identity that takes on each other’s form. The concept alone signals something deeply unsettling and metaphorical, and the trailer leaned into its dual nature as both a coming-of-age romance and a terrifying psychological experience. The film is set for release on June 19 and is aimed at connecting with younger audiences through its bold themes and visceral imagery.
NEON also showcased A Place in Hell, a psychological thriller starring Daisy Edgar-Jones, Andrew Scott, and Michelle Williams. The film explores ambition, identity, and the extremes people will go to in order to maintain control, positioning itself as a character-driven drama with intense emotional and psychological stakes. It is slated for a Christmas theatrical release.
Rounding out the presentation was Hope, a large-scale Korean sci-fi action thriller that underscores NEON’s growing investment in international cinema. Directed by Na Hong-jin and starring Michael Fassbender, Alicia Vikander, and Hoyeon, the film is set to premiere in competition at Cannes before arriving in theaters in September 2026. The footage teased a story that begins as a localized incident before escalating into something far larger, evolving into a fight not just for survival but for a greater cause. With an emphasis on spectacle and scale, the film was described as crowd-pleasing cinematic storytelling designed specifically for the theatrical experience.
Taken together, NEON and GKIDS presented a slate that feels both artistically ambitious and globally expansive, blending intimate human stories with high-concept premises and reaffirming their place as champions of bold, theatrical filmmaking in an increasingly fragmented landscape.
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