Anne Hathaway’s latest musical turn comes with the release of Burial, the first single from the soundtrack of the upcoming A24 film Mother Mary. The song dropped on streaming platforms today, giving audiences an early taste of the sonic world behind one of the most anticipated films of the spring. 

“Burial” marks a distinctive moment in Hathaway’s career. Best known as an Oscar‑winning actor, she has sung on occasion in film before, most famously in Les Misérables. This time she steps more fully into pop territory with an original track that leans into moody synth‑pop textures and dramatic vocal performance. It was co‑written with a high‑profile creative team that includes Charli xcx, Jack Antonoff, and George Daniel of The 1975. 

From the first listen Burial sets a dark, theatrical tone that seems designed not just to introduce the film’s musical identity but also to establish Hathaway’s character as a compelling and conflicted pop figure. Electronic beats are layered with ethereal synth swells and a hooky refrain that repeats the titular line, which feels both ominous and oddly cathartic in its delivery. Hathaway’s vocal presence is clear and assured, showing range and emotional nuance that suit the dramatic weight of the track and the character who delivers it. 

Fans on social platforms have already begun comparing the single to the work of avant‑pop artists like Lady Gaga and Charli xcx herself, noting how production choices give it an almost cinematic breadth even outside the context of the film. Many listeners point to its bold chorus and haunting background elements as standouts that elevate it beyond a typical soundtrack offering. 

Burial also serves as a powerful piece of marketing for Mother Mary, which opens in limited release on April 17 before expanding wide. The film follows Hathaway’s pop star character as she navigates complicated personal and professional relationships on the brink of a comeback. The song’s release, paired with a teaser video, gives a compelling preview of this unique blend of film and music. 

In a year packed with major cinematic projects from Hathaway, Burial stands out as a bold, intriguing shift into an unexpected artistic arena. Whether it becomes a radio mainstay or remains a cult favourite tied to the film, it signals that Hathaway’s musical chapter deserves close attention.

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When Forbidden Fruits hits theaters March 20, 2026, it arrives as one of the buzziest genre films of the year thanks to a head-turning ensemble cast, an offbeat premise that blends horror and comedy, and a creative team backing a story rooted in female friendship, power and dark ritual. 

At its heart the film marries campy occult thrills with sharp social commentary. The story unfolds in the seemingly mundane corridors of a suburban shopping mall where by day a trendy retail boutique called Free Eden sells chic outfits. By night, however, Forbidden Fruits transforms into something far stranger. Beneath the store, Apple, Cherry and Fig maintain a secret witchy femme cult, bound by rituals and sisterhood. When a new hire named Pumpkin arrives and begins to unsettle the group’s carefully curated hierarchy, the coven’s bonds fray and its members must confront not only external threats, but the poisonous edges of their own desires. 

Leading this coven is Lili Reinhart as Apple, a queen bee figure whose confidence and control begin to crack under pressure. Reinhart, best known for her sharp yet vulnerable turns in dramatic work, anchors the film with the kind of magnetic performance that can carry both humor and horror. Opposite her, Lola Tung plays Pumpkin, the fresh-faced newcomer whose innocence masks a sharp intelligence and an unexpected affinity for the occult. Tung’s performance promises to be both unsettling and empathetic as she disturbs the balance of the coven. 

Rounding out the core trio are Victoria Pedretti as the loyal but conflicted Cherry and Alexandra Shipp as Fig, whose smarts and codependence add emotional depth to the ensemble. Their chemistry has been a talking point among early fans and social media chatter, with many noting how the dynamic echoes classic dark comedies about female friendship and power struggles. 

The film also marks the feature acting debut of internet personality Emma Chamberlain, who joins the cast as Pickle, adding an extra layer of curiosity and crossover appeal for younger audiences drawn by her massive online following. 

At the helm is director Meredith Alloway, making her feature film debut with a script she co-wrote with playwright Lily Houghton. The movie is adapted from Houghton’s stage play Of the Women Came the Beginning of Sin, and Through Her We All Die, a title as provocative as the film’s themes of temptation, community and self-destruction. 

From its earliest conception Forbidden Fruits has been positioned as a unique voice in horror comedy. Producers including Diablo Cody, Mason Novick and Trent Hubbard recognized the script’s distinct blend of satire and surreal horror early on, propelling it onto the Black List of highly regarded unproduced screenplays before it even found its creative home. 

The film is also generating buzz for how it plays with genre expectations. Audiences familiar with horror comedies that riff on social groups and identity politics have already compared its tone to cult favorites that mix sharp dialogue with unsettling set pieces. Social reactions to the teaser pay homage to everything from early 2000s mall culture to clever twists on witchcraft tropes, beckoning viewers hungry for fresh takes in cinema that feel both self aware and viscerally engaging. 

Fans can expect Forbidden Fruits to juggle laughs, scares and emotional complexity. The narrative digs into belonging and performance, using the witch cult as an extended metaphor for the toxic cycles that can arise in any tightly knit group. Characters will be pushed to their psychological limits in scenes that blend humor with genuine dread, making the film as much a reflection on interpersonal dynamics as it is an entertaining horror romp. 

Visually the movie promises stylish production design that contrasts the neon sheen of mall life with the shadowy rituals of the basement coven. That juxtaposition, paired with a score and cinematography that can shift from eerie to gleefully absurd, underscores the film’s commitment to fun subversion. 

In the crowded slate of 2026 theatrical releases Forbidden Fruits is shaping up to be a standout for viewers craving horror with heart and smart performances that elevate genre material. It’s a film that teases laughter and chills in equal measure, inviting audiences to explore what happens when female empowerment, envy and charm collide in the most unexpected places.

The post Forbidden Fruits: This Witchy Cult Movie With Lili Reinhart, Lola Tung, Victoria Pedretti and Alexandra Shipp Is the Horror Comedy Hit You Didn’t See Coming appeared first on KIMU.

Charli xcx’s The Moment isn’t just another celebrity movie – it’s a cinematic experiment that blends mockumentary, hyperreality, satire, and self-mythology into something uniquely of its time. Conceived from an original idea by Charli herself and directed by Aidan Zamiri, this A24 feature reframes pop stardom not as a straightforward chronicle, but as a highly stylized, self-aware interrogation of fame’s veneer. At first glance, The Moment might resemble a music documentary: it follows a rising star, played by Charli, navigating the chaos of producing an arena tour during her Bratera, complete with real performance footage and press cycles woven into fictional scenes. But the film refuses to stay in the documentary lane. Charli has been clear: “It’s not a tour documentary or a concert film in any way.” Instead, it’s a 2024 period piece that grew out of industry pressure to make a conventional doc and turned it sideways into something more surreal and incisive.

At its heart, The Moment plays like a mockumentary, but one that doesn’t simply parody reality TV or behind-the-scenes fare. The tone is deliberately heightened: real tour clips shot alongside hyper-edited sequences, bizarre instructions from a clueless live-show director, and moments so eccentric that the viewer questions where the documentary ends and the fiction begins. This approach taps into hyperreality, where the lines between reality and representation blur, and “the real” becomes indistinguishable from the performed or mediated version of itself. Charli’s character is described as “a hell version of myself,” suggesting her on-screen persona is both an exaggerated caricature and a raw reflection of her lived experience in pop culture’s spotlight. Rather than simply showing fame, The Moment performs fame. This is a world where influencers, executives, assistants, and musicians orbit Charli’s trajectory with equal parts genuine concern and opportunistic flamboyance. It’s chaotic, over-the-top, and at times hilariously uncomfortable, like watching someone attempt to document themselves while the camera crew argues about straps and lighting. The result is a satirical, almost postmodern commentary on how fame is produced, consumed, and repurposed in the digital age.

Part of what makes The Moment feel so layered is its cast, who blur reality and fiction. Charli xcx plays a version of herself, caught between authenticity and absurdity. Alexander Skarsgård plays the eccentric director whose strange ideas mirror the often nonsensical demands of entertainment industries. Kylie Jenner makes her acting debut as herself, giving intense, almost surreal advice that feels like an extension of celebrity persona culture. Alexander Skarsgard, Rosanna Arquette, Rachel Sennott, Kate Berlant, Hailey Benton Gates, and others populate the orbit around Charli, a mix of actors and influencers who represent the many voices vying for narrative control in a pop star’s world. This cast roster reinforces the film’s layered reality: some play exaggerated versions of real figures, others are fully fictional, but all contribute to the feeling that we’re watching a documentary that knows it’s a documentary and wants to expose the machinery beneath it.

The trailers released so far are a perfect primer for this hybrid form. One memorable shot has Charli hiding inside a giant lighter at her director’s behest, an absurd, unforgettable image that signals this is not a typical music behind-the-scenes film. Throughout the teaser, we see chaotic rehearsals, stylized backstage moments, and surreal insertions that feel more like music videos than documentary footage. But that’s precisely the brilliance: The Moment insists that life, celebrity, and art are often indistinguishable from their representation in media.

The Moment collapses genres, merging documentary, biopic, and fiction into a collage-like structure that mirrors the fragmented nature of modern fame. It uses meta-commentary to reflect on industry expectations, turning the very idea of a pressured documentary into the film’s foundation. By leveraging hyperreality, it shows not just Charli the person, but Charli the symbol – the moment she became the moment. At its core, the film is also a commentary on narrative control, questioning who gets to tell your story and how authenticity is performed in a world that markets the image of authenticity.

The Moment is poised to be more than a movie; it is a postmodern mythologization of a pop star’s rise and the culture that fuels that rise. By blurring reality and fiction, documentary and narrative, satire and sincerity, Charli xcx and her collaborators have crafted a work that doesn’t just depict fame – it deconstructs it. Premiering at the Sundance Film Festival in early 2026 and set for wide release on January 30, it is shaping up to be one of the most compelling and self-aware pop culture films of the year.

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Anne Hathaway stars as the titular Mother Mary, a global music icon plotting a comeback while teetering on the edge of existential collapse. The premise seems simple: an artist reuniting with an old collaborator to rebuild her image. But the collaborator in question – Sam Anselm, played by Michaela Coel – isn’t merely a costume designer. She’s the person who once gave Mary her surface. The woman who shaped her visual mythology. Someone who saw her before the world did, and maybe saw too much. Their reunion isn’t nostalgic; it’s destabilizing. In Lowery’s hands, the past isn’t a memory but a force, something that pulls, distorts and demands to be acknowledged.

The film’s early footage leans into that eerie tension. High-fashion imagery collides with a faint sense of ritual, as if creation itself is dangerous. Coel’s character warns, “There may only be one of us left standing when this is over.” Hathaway responds with consent, almost resignation. It hints at a story less about music than about the cost of self-manufacturing – what it requires to embody a persona so fully that returning to your original self feels impossible.

This philosophical strain is echoed in the film’s creative process. Hathaway immersed herself in vocal coaching and performance training not to imitate pop stardom but to understand the psychology of a person who lives on a stage. She described the experience as “submitting to being a beginner,” welcoming a kind of ego dissolution. Lowery, for his part, has likened the intensity of the shoot to “Apocalypse Now chaos,” a metaphor that captures the emotional disorientation the cast underwent. During one pivotal scene, Hathaway reportedly broke down and apologized to Coel, worried the emotional violence of the moment might cut too deep. Coel’s response – “I love you. I trust you” – suggests the film is as much about human vulnerability as it is about spectacle.

The music, too, refuses to serve as ornamentation. Original songs from Jack Antonoff, Charli xcx, and FKA twigs give Mother Mary a sonic identity rooted in performance as confession. Hathaway performs many of the tracks herself, adding a rawness that underscores the film’s themes: the voice you project versus the voice you possess.

The supporting cast deepens the film’s sense of mythmaking. Hunter Schafer, Jessica Brown Findlay, Kaia Gerber, Alba Baptista, and FKA twigs appear in roles that seem to orbit Mary’s carefully engineered world. Their presence adds to the sense that the film is interested in fame not as achievement, but as a collective hallucination – built by many, carried by one.

What makes Mother Mary feel different from other pop-star narratives is its refusal to treat the entertainment industry as merely glamorous or cruel. Instead, it seems to view stardom as a metaphysical condition. A state of being where identity becomes performance, and performance becomes a form of survival. The film asks not whether Mary can return to fame, but whether there’s anything left of her outside of it – and whether the woman who once dressed her might be the only person capable of answering that.

With its April 2026 release approaching, A24 has kept much of the plot deliberately opaque. We don’t know how far the film will push the relationship between its leads, or whether the story will remain grounded in industry psychology or drift into the mythic territory Lowery often loves. The ambiguity feels intentional. After all, a film about reinventing identity might benefit from withholding its own.

If the early glimpses are any indication, Mother Mary won’t be another meditation on fame’s corrosive power. It’s shaping up to be something stranger: a story about creation as destruction, performance as confession, and the dangerous intimacy of being seen, truly seen, by someone who remembers who you were before the world claimed you.

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For months now, fans of James Cameron’s Avatar universe – lovingly referred to as the “Na’vi hive” – have been eagerly waiting for their first real glimpse of Avatar: Fire And Ash. And now, with the release of the film’s first poster and trailer, the countdown to our next journey to Pandora has truly begun.

Set for release in just under six months, Fire And Ash marks the third chapter in Cameron’s epic sci-fi saga, following 2022’s Avatar: The Way Of Water. That film ended on a tragic note, and all signs point to the upcoming sequel diving even deeper into emotional territory. If The Way Of Water was a flood of feelings, this time we’re heading into the fire – literally and figuratively.

At the center of the storm is Varang, a formidable new antagonist played by Oona Chaplin. She’s the leader of the Mangkwan “Ash” Clan, and judging by the poster, she’s not here to make friends. With flames burning in her eyes, tribal piercings, and an ominous feathered adornment, Varang is clearly a force to be reckoned with. The design of the poster follows in the tradition of its predecessors: a striking half-face portrait of a key female figure. First, it was Neytiri (Zoe Saldaña) in 2009. Then came Kiri (Sigourney Weaver’s Na’vi teen) in The Way Of Water. Now, it’s Varang’s turn in the spotlight.

What’s more, fans won’t have to wait much longer for the trailer. It’s been confirmed that the first teaser will play exclusively in cinemas ahead of The Fantastic Four: First Steps this weekend. So, if you’re itching for your first look at the fiery chaos that awaits Jake Sully and his family, you’ll want to snag tickets to catch it on the big screen.

From the ocean depths to the scorched forests, Cameron’s world keeps expanding – and intensifying. With Fire And Ash, it looks like Pandora is heading into its darkest, most explosive chapter yet. Buckle up.

Bring on the flames.

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Universal Pictures has unveiled the spellbinding first trailer for Wicked: Part Two – For Good, the epic conclusion to Jon M. Chu’s lavish two-part adaptation of the beloved Broadway musical. Following the dazzling success of Wicked: Part One, which soared to over $800 million worldwide, the second installment promises an emotional, high-stakes farewell as the witches of Oz meet their destinies.

The trailer showcases a cascade of visually rich and dramatic scenes – revolution in the Emerald City, shadowy corridors of power, and the anguished final moments between two women forever changed by friendship, ideology, and sacrifice.

Returning as Elphaba, Cynthia Erivo commands the screen with an even more potent gravitas. Her defiant stance against the Wizard’s regime reaches a boiling point in For Good, as she fully embraces her role as the misunderstood Wicked Witch of the West. The trailer teases a climactic showdown, with Erivo’s Elphaba summoning her full magical might in a haunting sequence that nods to her “No Good Deed” number – now elevated with thunderous new orchestration.

But while the political stakes are sky-high, the emotional core remains the bond between Elphaba and Glinda. Their duet “For Good” is hinted at in the trailer’s closing seconds, a quiet moment shared behind castle walls, eyes glistening with tears. Longtime fans will recognize this as the emotional apex of the story – the irreversible goodbye.

Part Two also includes Michelle Yeoh’s Madame Morrible taking a darker turn, and Jeff Goldblum returning as the enigmatic Wizard with secrets yet to be fully unearthed. The trailer also hints at a reimagined take on The Wizard of Oz mythos, with Dorothy’s slippers making a tantalizing debut – just enough to spark speculation without giving too much away.

Director Jon M. Chu, speaking in a teaser released earlier this week, said, “Part One was about transformation, about the beginning of identity. Part Two is about consequence, legacy, and the price of truth. It’s about what it means to do the right thing – even when it’s misunderstood.”

If the trailer is any indication, Wicked: Part Two – For Good will not only bring the iconic story full circle, but elevate it into a sweeping, tragic triumph of fantasy cinema. Wicked: Part Two – For Good flies into theatres on November 26, 2025.

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If you thought Elite was steamy, Netflix’s upcoming Spanish series Olympo is about to raise the temperature even higher. Set inside a high-performance sports training centre in the Pyrenees, Olympo oozes ambition, pressure, and scandal – all wrapped in toned bodies, forbidden romances, and the dark underbelly of competitive perfection.

At the centre of the story is Amaia, played by Through My Window star Clara Galle. She’s the driven captain of Spain’s synchronized swimming team, the kind who doesn’t blink under pressure – until her best friend suddenly starts outperforming her. But here’s the twist: that best friend, Núria, might be getting an edge that’s more than just talent or hard work. Cue the secrets, the tension, and yes, the jealousy that simmers just under the surface.

What really sets Olympo apart is how unapologetically sensual it is. Think locker room glances, emotionally charged training montages, love triangles, and moments that blur the line between competition and desire. It’s not just about sports – it’s about obsession, identity, and the raw magnetism of youth pushed to the edge. Add in a diverse cast that doesn’t shy away from queer love stories, and you’ve got a drama that isn’t just hot, it’s daring.

The creators clearly know the power of temptation, and Olympo plays with it in every scene. From power plays to personal betrayal, it’s a world where everyone is beautiful, dangerous, and just one mistake away from losing everything.

If you’re into shows that combine elite performance with elite drama – all served with jaw-dropping aesthetics – Olympo might just be your next guilty pleasure. It’s messy, sexy, and completely irresistible!

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A Return to the Spielbergian Spirit

For a good while now, the Jurassic franchise has leaned into disaster-movie territory – whether it was the fall of Isla Nublar’s theme park in Jurassic World, the volcanic eruption of Fallen Kingdom, or the global eco-collapse seen in Dominion. But Jurassic World Rebirth looks set to revive the adventure-first spirit of the original Jurassic Park films. Under the direction of Gareth Edwards (Godzilla, Rogue One, The Creator), the film introduces a fresh yet familiar premise: a team of scientists venturing to an unexplored island to retrieve crucial samples of “dino DNA.” This new location—distinct from Isla Nublar and Isla Sorna – offers uncharted dangers and untold discoveries, setting the stage for an electrifying ride.

A-List Cast on a Prehistoric Mission

The trailer showcases a stellar cast led by none other than Scarlett Johansson, taking on the lead role as the expedition’s fearless leader. She’s joined by Bridgerton and Wicked star Jonathan Bailey, as well as the ever-charismatic Mahershala Ali. Their journey takes them through shady ports, ominous tomb-like structures, and dense jungle terrain—elements that harken back to the pulse-pounding suspense of Spielberg’s original masterpiece. The chemistry among the cast, combined with the film’s high-stakes premise, hints at an exhilarating, character-driven adventure unlike anything the franchise has delivered in years.

Dinosaurs—Both Familiar and Fierce

Of course, no Jurassic movie would be complete without its prehistoric stars, and Rebirth does not disappoint. The trailer teases the return of beloved scaly icons, including the sinister Dilophosaurus, the ocean-dominating Mosasaur, and the ever-terrifying Velociraptor. And let’s not forget the franchise’s true queen – the mighty T-Rex. But for those yearning for even more prehistoric thrills, Jurassic Park III fans will rejoice at the comeback of the Spinosaurus—now seen forging an uneasy alliance with the Mosasaur. And in a sequence reminiscent of The Lost World’s infamous long grass raptor attack, there’s a chilling tease of what appears to be an all-new, genetically engineered dinosaur—a creature glimpsed only briefly but bearing a striking resemblance to the beast from Bong Joon Ho’s The Host. Expect something bigger, meaner, and packed with razor-sharp teeth.

Can Rebirth Restore Jurassic’s Glory?

With David Koepp – the original Jurassic Park screenwriter – returning to script duties, and Gareth Edwards’ signature visual mastery at the helm, Jurassic World Rebirth looks poised to bring the franchise roaring back to its roots. The adventure-driven narrative, star-studded cast, and jaw-dropping dino-action promise a film that could once again dominate the box office and the hearts of fans worldwide.

Will this new chapter recapture the magic of Spielberg’s original vision? Will it deliver an unforgettable cinematic experience filled with wonder, suspense, and larger-than-life dinosaurs? We’ll find out when Jurassic World Rebirth stomps into UK cinemas on July 2nd!

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CHRISTSPIRACY is an investigative documentary following daring American filmmakers Kip Andersen and Kameron Waters. The duo set off around the globe, exploring the historical connection between all religions and animals. The pair expose how influential religious leaders of all faiths, have overlooked or even promoted animal exploitation. The Americans discover a 2,000 year-old cover up – a mistranslation that is going to transform the world. This is plausibly the most significant new discovery about Jesus Christ, in the last 2,000 years.

Tickets for CHRISTSPIRACY will go on sale February 21, at 9:00 a.m. EDT at www.christspiracy.com. In addition to the documentary, the theatrical screenings will also include an introduction from the filmmakers.

CHRISTSPIRACY asks the key question: “Is there an ethical or spiritual way to kill an animal?”

CHRISTSPIRACY presents a historical account of how greed, the desire for power and control, and religious texts have led us to where humans and animals are today – in an environmental, ethical, karmic and existential global crisis. One which sees over 90 billion animals enslaved and killed and almost 3 trillion fish killed annually.

The film features interviews with several Oxford University theology professors, doctors, American priests, and religious leaders from the Christian churches, Judaism, Islam, Hindu, and Buddhism. From holocaust survivors and community leaders who’ve changed their teachings, the film explores humanity’s relationship with animals, and how they ended up on our plates.

“Christspiracy, the latest documentary from Kip Andersen and Kameron Waters, takes us on a philosophical journey to find out the truth in relation to Jesus and the animals,” says Oscar-winning actor and animal rights advocate, Joaquin Phoenix. “The film explores the answer from many of the world’s religions and exposes unforgiving truths about animal cruelty in the name of religion.”

This 2,000 year-old cover-up is deeply embedded in the fabric of our society, and the film’s revelation just might redefine what it truly means to be human(e).

CHRISTSPIRACY is the biggest and boldest chapter yet of the “Cowspiracy” (executive produced by Leonardo DiCaprio), “What the Health” (executive produced by Joaquin Phoenix) and “Seaspiracy” series.
CHRISTSPIRACY will change the way the world thinks about faith, ethics and our relationship with animals forever.

Kip Andersen, President and Founder of AUM Films said, “Christspiracy is an exclusive story about Jesus Christ that has never been told in a film before. We believe what we have uncovered will transform history and future teachings forever.”

“In Christspiracy, we show viewers the truth about what Jesus really meant and what He wanted, and our exclusive findings are all verified by Oxford University professors and doctors. It is an exploration of all the world’s religions including Judaism, Islam, Buddhism and Hinduism. We unveil why the world’s religions have hidden the truth from their people. The film and the truth will shock you to the core.”

Fifty percent of the filmmakers net proceeds from ticket sales will be donated to animal charities.

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This looks amazing. Life. A perspective film via the relationship between James Dean and the man who “discovered him”, LIFE magazine photographer Dennis Stock, who pursued a photo essay on Dean as a “leader of a new movement” directed by Anton Corbijn. Robert Pattinson plays Stock, Dane DeHaan plays James Dean – in what appears to be the best cast movie of the year. The acting looks exceptional.

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