Expanding upon the world created by Danny Boyle and Alex Garland in 28 Years Later - but turning that world on its head - Nia DaCosta directs 28 Years Later: The Bone Temple. In a continuation of the epic story, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship - with consequences that could change the world as they know it - and Spike's (Alfie Williams) encounter with Jimmy Crystal (Jack O'Connell) becomes a nightmare he can't escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival - the inhumanity of the survivors can be stranger and more terrifying.

The story of a local legend: whether through his influential bands, legendary act The Front Lawn, or compositions for film and television, the songs of Don McGlashan are well known to the Kiwi ear. Less familiar is the story of the man behind the music, but that’s about to change thanks to acclaimed cultural documentarian Shirley Horrocks (Peter Peryer: The Art of Seeing, Paul Callaghan: Dancing with Atoms). This captivating documentary celebrates the extraordinary journey of Don's career, packed with backstage stories, personal moments, and the magic behind chart-topping hits. With legendary colleagues like Neil Finn and Toa Fraser singing Don McGlashan’s praises, and touching interviews with family offering rare glimpses into his creative soul, it’s an uplifting tribute to a truly original talent.

Jake and Neytiri's family grapples with grief after Neteyam's death, encountering a new, aggressive Na'vi tribe, the Ash People, who are led by the fiery Varang, as the conflict on Pandora escalates and a new moral focus emerges.

Jake and Neytiri's family grapples with grief after Neteyam's death, encountering a new, aggressive Na'vi tribe, the Ash People, who are led by the fiery Varang, as the conflict on Pandora escalates and a new moral focus emerges. Please note that we do not charge a premium for 3D films but you will have to purchase reuseable 3-D glasses at the candy bar $3.00 each

The true story of Comandante Salvatore Todaro, Captain of an Italian Royal Navy submarine. When Todaro sinks an enemy ship, he reaches a decision that is destined to make history: putting his crew at huge risk he decides to rescue the 26 survivors.

The life of a Russian physician and poet who, although married to another, falls in love with a political activist's wife and experiences hardship during the First World War and then the October Revolution.

EPiC: ELVIS PRESLEY IN CONCERT is the groundbreaking new cinematic experience from visionary director and Academy Award®-nominee Baz Luhrmann, inviting audiences to see Elvis perform and tell his story as never before. Drawn from newly unearthed footage of Elvis’s legendary Las Vegas residency and US tour, the film places audiences on stage and in the room with Elvis at the height of his powers. Just pure performance and Elvis in his own words, revealing the entertainer, the musician, and the man behind the icon. This is Elvis as you have never seen or heard him before. this is finally the Elvis ‘World Tour’ he never got to go on.

Gloria! tells the story of Teresa, a young woman with a visionary talent who, together with a small group of extraordinary musicians, crosses centuries and challenges the dusty old world of classical music by inventing rebellious, modern music.

The animated film GRAND PRIX OF EUROPE takes Ed & Edda on a fast-paced and heartwarming adventure, featuring charming characters, a captivating story, action, and humor that will thrill audiences worldwide in 2025. Great for the younger kids!

Welcome to the pumpkin capital of the world, where the pumpkins are epic, the rivalries are fierce, and the competition is anything but garden variety. Dinah Little, a no-nonsense farmer with a tough-as-a-pumpkin exterior, reluctantly takes in her abandoned niece, Charlie. Dinah is not quick to affection, and Charlie is not one for sitting still. So she throws her into farm life, sleeves rolled up and hands in the dirt. Then comes the town’s biggest spectacle, the annual pumpkin-growing contest, a Halloween season tradition that brings out wild stunts, eccentric characters, and record-setting drama. But Charlie has something no one else does, a special knack for connecting with plants that quietly reflects her own longing to feel just as seen and loved. But as both pumpkin and plot thicken, and rival growers pull every trick in the book, will Charlie and Dinah’s unlikely entry stand tall against the fiercest competition the town has ever seen? As her pumpkin grows bigger, so does her bond with her aunt Dinah. Together they discover that the real prize is not measured in pounds, but in joy, laughter, and community. What begins as a seed blossoms into an exuberant and hilarious story of crazed competition, found family, and love that grows as boundless as the pumpkins themselves.

From Academy Award® winning writer/director Chloé Zhao, HAMNET tells the powerful love story that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.

When Nobel Prize-winning Chilean poet Pablo Neruda is exiled to the island of Procida, he captures the attention of the local postman, Mario. The power of language and poetry opens Mario’s mind and expands his horizons, and soon, he wishes to use the newly discovered power of words to woo the beautiful Beatrice.

The stars are gone. The planets have disappeared. Only those on space stations or starships were left to give the end a name. The Quiet Rapture. The universe dims. Humanity decays. Barren moons are all that remain. The last remnants search for any trace of natural resources among them. With only ghost light of long-vanished stars to guide them. But one moon stands apart from the rest. And in the darkness of that moon. An ocean of blood.

A glamorous Parisian actress flees to Rome to protect her reputation and hide her daughter's learning disability. There, she meets Maria Montessori, a brilliant doctor who is developing a methodology for non-conventional children, but Maria has a secret of her own.

Marty Mauser, a young man with a dream no one respects, goes to hell and back in pursuit of greatness.

ACT I Spring, 1789, at the Château de Coigny near Paris. Gérard, servant to the Countess de Coigny, mocks the aristocracy and their manners. Observing his father struggle with a piece of furniture, Gérard laments the suffering of all servants under their arrogant masters (“Son sessant’anni”). Maddalena, the Countess’s daughter, appears and Gérard realizes how much he loves her. Busy with preparations for a soirée that evening, the Countess scolds Maddalena for not yet being dressed. Maddalena complains to her servant, Bersi, about the discomfort of the current fashions and then runs out to change. Among the guests to arrive is Fléville, a novelist, who has brought with him the rising poet Andrea Chénier. After the Abbé relates the latest depressing news from Paris, Fléville enlivens the party with a pastorale he has written for the occasion. Maddalena then teases a reluctant Chénier into improvising a poem (“Un dì all’azzurro spazio”). Chénier scandalizes the guests with his criticism of the indifference of the clergy and the aristocracy to the suffering of the impoverished. The guests’ gavotte is interrupted by Gérard, who brings in a group of starving peasants. The Countess orders Gérard out along with the rabble. The guests are then invited to return to the gavotte, but they depart instead, and the Countess is left alone. ACT II Spring, 1794, along the Cours-la-Reine in Paris. The Revolution has begun, and the Reign of Terror is in full force. To fend off the Incredibile, a spy, Bersi pretends to be a daughter of the Revolution (“Temer? Perchè?”). The Incredibile is not deceived and notices that Chénier is waiting for someone in the Café Hottot. Chénier is joined by his friend Roucher, who has brought a passport so that Chénier may leave the country safely. Chénier says his destiny is to remain to find the love he has never had and to discover who has been writing him anonymous letters (“Credo a una possanza arcana”). A procession of dignitaries led by Gérard interrupts their conversation. The Incredibile takes Gérard aside to ask about the woman he is looking for. Gérard describes Maddalena to him. Meanwhile, Bersi asks Chénier to wait at the café for someone who wants to meet him. Maddalena appears and reveals to Chénier that it was she who wrote the letters. They pledge to love each other until death (“Ora soave”). The Incredibile, having seen Chénier and Maddalena together, brings Gérard to the scene. Gérard is wounded as Chénier defends Maddalena. Gérard, however, recognizes Chénier and sends him away, asking him to protect Maddalena. When the gathering crowd asks who wounded Gérard, he answers that his assailant was unknown. ACT III July 24, 1794, in the courtroom of the Revolutionary Tribunal. Mathieu, a revolutionary, is unsuccessfully urging the crowd to donate to the cause. Gérard, recovered from his wound, makes an impassioned plea for the motherland. Madelon, an old woman who has already lost her son and a grandson in the war, offers her last grandson as a soldier (“Son la vecchia Madelon”). As the crowd disperses, the Incredibile appears. If Gérard wants to have Maddalena, the Incredibile insists, he must first arrest her lover, Chénier. As Gérard writes the accusation, he is filled with remorse at the bloodshed he has caused in his rise to power. He concedes that his new master is passion (“Nemico della patria”). No sooner does he hand Chénier’s indictment to the court clerk than Maddalena appears. Gérard admits that he has laid a trap for her and that he loves her. Maddalena offers herself to Gérard if he will save Chénier. She has been a fugitive, her mother was killed in the Revolution and their home was burned (“La mamma morta”). Touched by her love for Chénier, Gérard promises to try to save him. The Tribunal convenes with an unruly mob in attendance. Chénier pleads for his life (“Sì, fui soldato”) and Gérard admits to the judges that the accusation he wrote was false. Nevertheless, Chénier is sentenced to death and taken away. ACT IV July 25, 1794, in the ruins of Paris’ St. Lazare prison. Chénier reads a final poem (“Come un bel dì di maggio”) to his friend Roucher, who then bids him a final farewell. Gérard and Maddalena are met by the jailer, Schmidt, whom Maddalena bribes with some jewels to allow her to take the place of another young woman sentenced to death. Gérard leaves to once again plead Chénier’s case with Robespierre. Maddalena tells Chénier she is there to die with him. As the day dawns, they share one final moment together (“Vicino a te”) before being taken to the guillotine.

ACT I Vienna, 1860. In the Waldners’ hotel suite, Countess Adelaide von Waldner consults a fortuneteller about the family’s financial crisis. The cards predict a rich marriage for their beautiful daughter Arabella, which would get the family out of debt, but the fortuneteller sees danger from a second daughter. Adelaide admits that their “son,” “Zdenko,” who has been warding off creditors at the door, is in fact a girl, Zdenka, who has been brought up as a boy to save the family the ruinous expense of introducing two daughters into society. Adelaide and the fortuneteller leave and Zdenka, alone, laments the family’s situation. She fears they will have to leave Vienna and she will never see Matteo again, a young lieutenant and one of her sister’s suitors whom Zdenka has fallen in love with. To keep him happy, she has been writing him love letters in Arabella’s hand. Suddenly Matteo appears and asks his best friend, “Zdenko,” to help him win Arabella—otherwise he will shoot himself. Then he rushes off, leaving Zdenka desperate. Arabella returns from a walk to find presents from her three other suitors, Counts Elemer, Dominik, and Lamoral. Although Zdenka loves Matteo, she begs her sister to favor him so he will not be heartbroken. Arabella replies that the right man for her hasn’t appeared yet—she knows that once he does, she’ll recognize him. Elemer arrives to invite Arabella for a sleigh ride. Before she goes off to change, she notices a stranger outside the window whom she had seen earlier that morning. The two girls leave as Count Waldner enters and tells his wife that as a last resort he sent a photograph of Arabella to a rich old friend and fellow officer, Mandryka, hoping he would marry her. A few moments later Mandryka himself is announced—in fact, not the old Croatian friend, who has died, but his nephew and heir. The younger Mandryka has fallen in love with Arabella’s portrait and sold one of his forests in Slavonia to come to Vienna and ask for her hand. He lends the stunned Waldner some money, then leaves with the promise of an introduction later in the day. Waldner sets off to gamble with his newfound wealth. Matteo returns and Zdenka promises him she will have another letter from her sister that evening at the Coachmen’s Ball. Arabella, alone, reflects on the decision she has to make, her thoughts turning to the stranger she saw in the street. When Zdenka returns, the sisters go off to their sleigh ride. ACT II In the foyer of the ballroom, Waldner introduces Arabella to Mandryka, who turns out to be her fascinating stranger. Their meeting begins awkwardly as Mandryka, not used to Viennese society, feels he doesn’t find the right words, but Arabella is instantly attracted by his honest and straightforward manner—it is love at first sight. Mandryka tells of his young wife who died, of his lands, and the Slavonian custom of a girl pledging her engagement by presenting her future husband with a glass of water. Arabella returns his declaration of love but asks for one last evening to bid farewell to her girlhood. The coachmen’s mascot, the Fiakermilli, enters accompanied by her admirers and names Arabella queen of the ball. Mandryka orders champagne for everyone and steps aside as Arabella bids goodbye to Dominik, Elemer, and Lamoral. Meanwhile Matteo pleads desperately with Zdenka for some sign of Arabella’s professed love. Zdenka presses a key into his hands, telling him it opens the door next to Arabella’s bedroom, and that Arabella will meet him there later this evening. Mandryka, who has overheard the conversation, is appalled. Furious, he orders more champagne, drinks recklessly, and flirts with the Fiakermilli. Waldner appears, demanding to know what’s going on, and Adelaide explains that Arabella has gone home. Assuming there must be some sort of misunderstanding, Waldner convinces Mandryka to return with him to the hotel at once. ACT III Arabella enters the hotel lobby, dreamily thinking about her future life. Matteo, who has just spent some time in a dark room with someone he thought was Arabella, is amazed to find her there and can’t make sense of her cool cordiality. Mandryka arrives with the Waldners. Recognizing Matteo as the person who was given the key, he is convinced of Arabella’s betrayal despite her protestations of innocence. His behavior leads Waldner to demand satisfaction. Suddenly Zdenka comes running down the stairs in a nightgown. Overcome with shame, she confesses she gave herself to Matteo to avert a worse disaster. While her shocked parents forgive her, Matteo happily realizes that something didn’t add up from the beginning and that he is in love with Zdenka. Mandryka, though mortally ashamed, quickly takes charge of the situation and asks Waldner for Zdenka’s hand on Matteo’s behalf. As the others retire to their quarters, Arabella asks Mandryka to have his servant bring a glass of water to her room. Left alone and unable to forgive himself for his lack of trust in Arabella, Mandryka despondently wonders how she feels about him now that she left without even saying goodnight. As he is about to leave, Arabella appears at the top of the stairs, water glass in hand. She forgives Mandryka, and they renew their promise of love.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

ACT I England, around 1650. Plymouth, a Puritan stronghold, is threatened by siege from the Royalist troops. Distant voices herald the wedding day of Elvira, daughter of Gualtiero, the fortress’s commander. Riccardo enters lamenting that his promised bride, Elvira, loves another man—a Stuart partisan. Her father will not force her to marry against her will, it seems, so Riccardo’s friend Sir Bruno urges him to devote his life to leading the parliamentary forces. Elvira tells her uncle, Giorgio, that she would rather die than marry Riccardo. Her uncle reassures her that he has persuaded her father to let her marry her lover, Arturo. Although Arturo is a Royalist, he is heralded as he approaches the castle. Everyone gathers for the wedding celebration and Arturo greets his bride. He learns that King Charles’s widow, Queen Enrichetta, is a prisoner in the castle and soon to be taken to trial in London. Alone with the queen, Arturo offers to save her even if it means his death. Elvira returns with the bridal veil and capriciously places it over Enrichetta’s head. When he is alone again with the queen, Arturo explains that the veil will provide the perfect disguise for escape from the castle. As they are about to leave, Riccardo stops them, determined to kill his rival. Enrichetta separates them and reveals her identity. Riccardo lets them get away, knowing this will ruin Arturo. The others return for the wedding, and Riccardo tells of Arturo’s escape with Enrichetta. Soldiers rush off in pursuit. Elvira, believing herself betrayed, is overcome by madness. ACT II The townsfolk mourn Elvira’s mental breakdown. Giorgio explains that she continues to long for Arturo. Riccardo arrives to announce that Arturo has been condemned to death by Parliament. The Puritans depart. Elvira wanders in, reliving her happy past. In her madness, she mistakes Riccardo for Arturo and dreams of her wedding. When she leaves, Giorgio tries to convince Riccardo to save Arturo. At first indignant, Riccardo is finally moved to help Elvira, and the two men unite in patriotism: if Arturo returns as a friend, he shall live—if as an armed enemy, he shall die. ACT III In Elvira’s garden, Arturo reveals that love for her has brought him back to Plymouth. He overhears her sing their old love song and is torn between his affection and his loyalty to the Stuarts. Elvira herself appears and Arturo reassures her that she is his only love. Soldiers rush in to arrest Arturo. Just then, a diplomat arrives with the news of the Royalists’ final defeat and a general amnesty for all the offenders. The shock of this news restores Elvira’s senses, and all rejoice in the peace as Elvira and Arturo embrace their new happiness.

ACT I Paris, in the 1830s. In their Latin Quarter garret, the near-destitute artist Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings food, fuel, and funds he has collected from an eccentric nobleman. While they celebrate their unexpected fortune, the landlord, Benoit, comes to collect the rent. After getting the older man drunk, the friends urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. As the others depart to revel at the Café Momus, Rodolfo remains behind to finish an article, promising to join them later. There is another knock at the door—the visitor is Mimì, a pretty neighbor, whose candle has gone out in the stairwell. As she enters the room, she suddenly feels faint. Rodolfo gives her a sip of wine, then helps her to the door and relights her candle. Mimì realizes that she lost her key when she fainted, and as the two search for it, both candles go out. Rodolfo finds the key and slips it into his pocket. In the moonlight, he takes Mimì’s hand and tells her about his dreams. She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Rodolfo’s friends call from outside, telling him to join them. He responds that he is not alone and will be along shortly. Happy to have found each other, Mimì and Rodolfo leave, arm in arm, for the café. ACT II Amid the shouts of street hawkers near the Café Momus, Rodolfo buys Mimì a bonnet and introduces her to his friends. They all sit down and order supper. The toy vendor Parpignol passes by, besieged by children. Marcello’s former sweetheart, Musetta, makes a noisy entrance on the arm of the elderly, but wealthy, Alcindoro. The ensuing tumult reaches its peak when, trying to gain Marcello’s attention, she loudly sings the praises of her own popularity. Sending Alcindoro away to buy her a new pair of shoes, Musetta finally falls into Marcello’s arms. Soldiers march by the café, and as the bohemians fall in behind, the returning Alcindoro is presented with the check. ACT III At dawn at the Barrière d’Enfer, a toll-gate on the edge of Paris, a customs official admits farm women to the city. Guests are heard drinking and singing within a tavern. Mimì arrives, searching for the place where Marcello and Musetta now live. When the painter appears, she tells him of her distress over Rodolfo’s incessant jealousy. She says she believes it is best that they part. As Rodolfo emerges from the tavern, Mimì hides nearby. Rodolfo tells Marcello that he wants to separate from Mimì, blaming her flirtatiousness. Pressed for the real reason, he breaks down, saying that her illness can only grow worse in the poverty they share. Overcome with emotion, Mimì comes forward to say goodbye to her lover. Marcello runs back into the tavern upon hearing Musetta’s laughter. While Mimì and Rodolfo recall past happiness, Marcello returns with Musetta, quarreling about her flirting with a customer. They hurl insults at each other and part, but Mimì and Rodolfo decide to remain together until springtime. ACT IV Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, reflect on their loneliness. Colline and Schaunard bring a meager meal. To lighten their spirits, the four stage a dance, which turns into a mock duel. At the height of the hilarity, Musetta bursts in with news that Mimì is outside, too weak to come upstairs. As Rodolfo runs to her aid, Musetta relates how Mimì begged to be taken to Rodolfo to die. She is made as comfortable as possible, while Musetta asks Marcello to sell her earrings for medicine and Colline goes off to pawn his overcoat. Left alone, Mimì and Rodolfo recall their meeting and their first happy days, but she is seized with violent coughing. When the others return, Musetta gives Mimì a muff to warm her hands, and Mimì slowly drifts into unconsciousness. Musetta prays for Mimì, but it is too late. The friends realize that she is dead, and Rodolfo collapses in despair.

ACT I Isolde, an Irish princess, is being taken to Cornwall aboard the ship of Tristan, whose uncle, King Marke, plans to marry her. She becomes enraged by a sailor’s song about an Irish girl, and her maid, Brangäne, tries to calm her. Isolde interrogates Tristan, but he replies evasively. His companion Kurwenal loudly ridicules the Irish women and sings a mocking verse about Morold, Isolde’s fiancé, who was killed by Tristan when he came to Cornwall to exact tribute for Ireland. Isolde, barely able to control her anger, tells Brangäne how the wounded Tristan came to her in disguise after his fight with Morold so that he could be healed by Isolde’s knowledge of herbs and magic, which she learned from her mother. Isolde explains to Brangäne that she recognized Tristan, but her determination to take revenge for Morold’s death dissolved when he pleadingly looked her in the eyes. She now bitterly regrets her reluctance to kill him and wishes death for him and herself. Brangäne reminds her that to marry a king is no dishonor and that Tristan is simply performing his duty. Isolde maintains that his behavior shows his lack of love for her, and asks Brangäne to prepare her mother’s death potion. Kurwenal tells the women to prepare to leave the ship, as shouts from the deck announce the sighting of land. Isolde insists that she will not accompany Tristan until he apologizes for his offenses. He appears and greets her with cool courtesy. When she tells him she wants satisfaction for Morold’s death, Tristan offers her his sword, but she will not kill him. Instead, Isolde suggests that she and Tristan make peace with a drink of friendship. He understands that she means to poison them both, but still drinks, and she does the same. Expecting death, they exchange a long look of love, then fall into each other’s arms. Brangäne admits that she has in fact mixed a love potion, as sailors’ voices announce the ship’s arrival in Cornwall. ACT II In the garden of Marke’s castle, Isolde waits impatiently for a rendezvous with Tristan, while distant horns signal the king’s departure on a hunting party. Isolde believes that the party is far off, but Brangäne warns her about spies, particularly Melot, a jealous knight whom she has noticed watching Tristan. Isolde replies that Melot is Tristan’s friend. She sends Brangäne off to stand watch and puts out the warning torch. When Tristan appears, she welcomes him passionately. They praise the darkness that shuts out the light of conventionality and false appearances and agree that they feel secure in the night’s embrace. Brangäne’s distant voice warns that it will be daylight soon, but the lovers are oblivious to any danger and compare the night to death, which will ultimately unite them. Kurwenal rushes in with a warning: the king and his followers have returned, led by Melot, who denounces the lovers. Moved and disturbed, Marke declares that it was Tristan himself who urged him to marry and choose the bride. He does not understand how someone so dear to him could dishonor him in such a way. Tristan cannot answer. He asks Isolde if she will follow him into the realm of death. When she accepts, Melot attacks Tristan, who falls wounded into Kurwenal’s arms. ACT III Back at his castle, the mortally ill Tristan is tended by Kurwenal. A shepherd inquires about his master, and Kurwenal explains that only Isolde, with her magic arts, could save him. The shepherd agrees to play a cheerful tune on his pipe as soon as he sees a ship approaching. Hallucinating, Tristan imagines the realm of night where he will return with Isolde. He thanks Kurwenal for his devotion, then envisions Isolde’s ship approaching, but the shepherd’s mournful tune signals that the sea is still empty. Tristan recalls the melody, which he heard as a child. It reminds him of the duel with Morold, and he wishes Isolde’s medicine had killed him then instead of making him suffer now. The shepherd’s tune finally turns cheerful. Tristan gets up from his sickbed in growing agitation and tears off his bandages, letting his wounds bleed. Isolde rushes in, and he falls, dying, in her arms. When the shepherd announces the arrival of another ship, Kurwenal assumes it carries Marke and Melot, and barricades the gate. Brangäne’s voice is heard from outside, trying to calm Kurwenal, but he will not listen and stabs Melot before he is killed himself by the king’s soldiers. Marke is overwhelmed with grief at the sight of the dead Tristan, while Brangäne explains to Isolde that the king has come to pardon the lovers. Isolde, transfigured, does not hear her, and with a vision of Tristan beckoning her to the world beyond, she sinks dying upon his body.

The resounding audience favourite of the 2025 French Film Festival Aotearoa, writer/director Emmanuel Courcol's wildly entertaining new film MY BROTHER'S BAND follows two siblings separated by fate and reunited by music. Thibaut (the exceptional Benjamin Lavernhe, 'Delicious', 'C’est la vie!') is an internationally renowned orchestra conductor who travels the world. When a health crisis and subsequent DNA test inadvertently reveals that he was adopted as an infant, Thibaut discovers the existence of a younger brother, Jimmy (rising star Pierre Lottin), who lives in more modest circumstances; he works in a school cafeteria, cares for his mother and plays the trombone in a community brass band. The pair seem to have little else in common other than a love of performance, but sensing his sibling’s talent, Thibaut decides to remedy the injustice of fate and help nurture his brother’s gifts. An eruptive crowd-pleaser wherever it has screened (notably receiving the highest audience score in the 51-year history of the San Sebastián Film Festival), MY BROTHER’S BAND is a rousing, feel-great trip to the cinema, expertly striking the perfect harmony between laughter and tears to celebrate family, community and the beauty and hope of collective spirit.

When satirist John Clarke died in 2017, the world mourned an icon. A defining comedic voice for over forty years, Clarke gave away very little about his own life. At home, by contrast, he was an open book. In a remarkable series of recorded conversations, John and his daughter (writer/director Lorin Clarke) trace his steadfast resistance to authority back to his childhood, delve into his early career forging a career in New Zealand, and offer delightful insights into his four decades in the entertainment industry

The Allies, led by the unyielding chief prosecutor, Robert H. Jackson (Michael Shannon), have the task of ensuring the Nazi regime answers for the unveiled horrors of the Holocaust while a US Army psychiatrist (Rami Malek) is locked in a dramatic psychological duel with former Reichsmarschall Herman Göring (Russell Crowe).

Parthenope was the mythical Siren who founded Naples. We follow the beautiful woman who bears the name of her city on a decades-long journey searching for happiness during the long summers of her youth, falling in love and meeting the many memorable characters as she becomes a formidable woman.

Set against modern-day Tokyo, RENTAL FAMILY follows an American actor (Brendan Fraser) who struggles to find purpose until he lands an unusual gig: working for a Japanese "rental family" agency, playing stand-in roles for strangers. As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality. Confronting the moral complexities of his work, he rediscovers purpose, belonging, and the quiet beauty of human connection. Searchlight Pictures presents RENTAL FAMILY, directed, co-written and produced by HIKARI (“Beef”, “Tokyo Vice”, 37 Seconds). The film stars Academy Award® and Screen Actors Guild award winner Brendan Fraser (The Whale, The Mummy, Encino Man) with a supporting cast that includes Emmy® nominee Takehiro Hira (“Shogun”), Mari Yamamoto (“Pachinko,” “Monarch: Legacy of Monsters”), Akira Emoto (Lovers Lost, Shin Godzilla, Dr. Akagi) and newcomer Shannon Gorman. With a screenplay by HIKARI and Stephen Blahut (37 Seconds), the film is produced by Sight Unseen Pictures’ Julia Lebedev (Dear White People, Bad Education) and Eddie Vaisman (Wildlife, A Thousand and One), as well as Knockonwood’s Shin Yamaguchi (37 Seconds, Spirit World). Jennifer Semler (A Real Pain, Theater Camp), Tomo Koizumi, Blahut, Leonid Lebedev (Bad Education), Fraser, and Oren Moverman (The Messenger, Love & Mercy) are executive producers. Joining filmmaker HIKARI behind the camera are director of photography Takurô Ishizaka (All of Us Strangers, Snake Eyes), production designers Norihiro Asoda (The Blind Swordsman: Zatoichi) and Masako Takayama (“Tokyo Vice”), editors Alan Baumgarten and Thomas A. Kruger, composers Jónsi and Alex Somers, costume designer Meg Mochizuki (37 Seconds), makeup department head Hiromi Momose (Like Father, Like Son), and casting directors Kei Kawamura and Yumi Takada.

Based on a true story, two down-on-their-luck musicians (Hugh Jackman and Kate Hudson) form a joyous Neil Diamond tribute band, proving it's never too late to find love and follow your dreams.

1916. As war rages on the Western Front, the Choral Society in Ramsden, Yorkshire has lost most of its men to the army. The Choral’s ambitious committee, determined to press ahead, decides to recruit local young males to swell their ranks. They must also engage a new chorus master, and despite their suspicions that he has something to hide, their best bet seems to be Dr. Henry Guthrie (Ralph Fiennes) – driven, uncompromising, and recently returned from a career in Germany. As conscription papers start to arrive, the whole community discovers that the best response to the chaos that is laying waste to their lives is to make music together.

When a young woman with a mysterious past lands a job working for a wealthy couple as a housemaid, she can't believe her luck. But the perfect affluent, elite couple, the lurking Gardener and the dismissive daughter have secrets of their own as things begin to unravel quickly. Nothing is as it seems behind the perfect facade of suburbia and only the strong survive. A favourite with book clubs around the globe and readers from a broad and wide demographic, the book spent 75 weeks on the New York Times best seller list and is the second most read title on Kindle. It has been sold in over 45 countries and has been published in 40+ different languages.

SpongeBob and his Bikini Bottom friends set sail in their biggest, all-new, can’t miss cinematic event ever…The SpongeBob Movie: Search for SquarePants. Desperate to be a big guy, SpongeBob sets out to prove his bravery to Mr. Krabs by following The Flying Dutchman – a mysterious swashbuckling ghost pirate – on a seafaring comedy-adventure that takes him to the deepest depths of the deep sea, where no Sponge has gone before.

In a world in which Great Britain has become a fascist state, a masked vigilante known only as “V” conducts guerrilla warfare against the oppressive British government. When V rescues a young woman from the secret police, he finds in her an ally with whom he can continue his fight to free the people of Britain.

Overwhelmed by his wife, a postal worker from Northern Italy feigns disability to request a transfer to Milan. When he's unmasked, he is sent to a tiny village near Naples for two years. He moves there alone, scared and full of the typical prejudice about the south. But he meets lovely people who quickly make him feel at home. Now the challenge is to explain this to his wife, so he chooses to make her believe that his life is hell. A remake of the French film "Bienvenue chez les Ch'tis."

A passionate and tumultuous love story set against the backdrop of the Yorkshire moors, exploring the intense and destructive relationship between Heathcliff and Catherine Earnshaw.

Retired orchestra conductor Fred Ballinger is on vacation with his daughter Lena and his film director best friend Mick Boyle in a glamorous Swiss Alpine resort. When he receives an invitation from Queen Elizabeth II to perform for Prince Philip's birthday, much to everyone’s surprise, he refuses.

In Walt Disney Animation Studios’ “Zootopia 2,” detectives Judy Hopps (voiced by Ginnifer Goodwin) and Nick Wilde (voiced by Jason Bateman) find themselves on the twisting trail of a mysterious reptile who arrives in Zootopia and turns the animal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before. Oscar® winners Jared Bush (co-director/co-writer “Zootopia,” director/co-writer “Encanto”) and Byron Howard (director “Zootopia,” director “Encanto”) are directing; Bush is writing the script; Yvett Merino (Oscar-winning producer “Encanto”) produces. “Zootopia 2” hits cinemas Nov. 27, 2025.