Prolific shapeshifter Josh O’Connor (La Chimera, Challengers, The Mastermind, Wake Up Dead Man) plays a reserved father searching for a way back after catastrophe in Max Walker-Silverman’s (A Love Song) soulful story of the American West.

Rebuilding follows Dusty (O’Connor), a stoic cowboy whose ranch was destroyed in a devastating wildfire. Now based in a trailer community on a government-run campsite, Dusty finds solace with his new neighbours, quietly reassembles his life, and strengthens his bonds with his ex-wife Ruby (The White Lotus’s Meghann Fahy) and their young daughter Callie-Rose (Lily LaTorre). Shot against the majestic landscapes of southern Colorado, Rebuilding is a sensitive portrait of resilience, the increasing precarity of the natural world and the struggle to regain hope and trust after traumatic loss.

Following her acclaimed 2024 company debut in Puccini’s Madama Butterfly, soprano Asmik Grigorian returns to the Met as Tatiana, the lovestruck young heroine in this ardent operatic adaptation of Pushkin. Baritone Igor Golovatenko reprises his portrayal of the urbane Onegin, who realizes his affection for her all too late. The Met’s evocative production, directed by Tony Award–winner Deborah Warner, “offers a beautifully detailed reading of … Tchaikovsky’s lyrical romance” (The Telegraph).

Cast:  

Tatiana ASMIK GRIGORIAN

Olga MARIA BARAKOVA

Filippyevna STEPHANIE BLYTHE

Lenski STANISLAS DE BARBEYRAC

Eugene Onegin IGOR GOLOVATENKO

Prince Gremin ALEXANDER TSYMBALYUK

Creatives:

Music PYOTR ILYICH TCHAIKOVSKY

Conductor TIMUR ZANGIEV

Director DEBORAH WARNER

Set Designer TOM PYE

Costume Designer CHLOE OBOLENSKY

Lighting Designer JEAN KALMAN

Projection Designer IAN WILLIAM GALLOWAY and FINN ROSS

Choreographer KIM BRANDSTRUP

The life and legacy of one of the most influential artists the world has ever known is brought thrillingly to the screen.

The director of Training Day, Olympus Has Fallen and the The Equalizer films adopts a very different tack with his biographical portrait of the King of Pop. Written by John Logan (Gladiator, The Last Samurai, Hugo), the film delves into the early years of Michael Jackson, portraying his home life and success with the Jackson 5, through to his ascension as arguably the greatest star of the pop firmament. The singer is played by his real-life nephew, with an all-star cast filling out the remaining ensemble of family members, friends and witnesses.

The 2026 multiscreen concert film of two massive live shows by John Lennon and Yoko Ono at Madison Square Garden, New York.

The film is newly restored, re-edited and remixed by the Lennons' seven-time GRAMMY®-Award winning team. John & Yoko/Plastic Ono Band with Elephant's Memory and Special Guests performed these now-legendary sold-out One To One concerts to a combined audience of 40,000 people, raising over $1.5M (equivalent to $11.5M in 2026) for children with intellectual and developmental disabilities. They were the only full-length concerts John Lennon (with Yoko Ono) performed after leaving The Beatles.

Hits performed include John Lennon's 'New York City', 'Instant Karma! (We All Shine On)', 'Imagine' and 'Mother', plus Yoko Ono's 'Don't Worry Kyoko' and 'Open Your Box', as well as rousing renditions of 'Come Together' and 'Hound Dog' and an incredible stage-filled encore of 'Give Peace a Chance’, featuring special guests Stevie Wonder, Sha Na Na, Melanie Safka-Schekeryk and many others

Originally filmed by multi-camera director Steve Gebhardt in 1972, this 2026 version of the concert film is directed by Simon Hilton, edited by Ben Wainwright-Pearce and produced by Peter Worsley and Sean Ono Lennon.

A heartbreaking, but ultimately hopeful, account of the epilepsy of Louis Petit as documented by his parents, filmmakers Christopher Petit and Emma Matthews.

This deeply personal essay film about Louis Petit, whose severe epilepsy erased nearly all memories of his childhood, employs intimate family footage as it traces the emotional and practical consequences of living with memory loss, as well as the fragile process of reconstructing a sense of self. Moving between the personal and the political, it navigates the labyrinth of medical bureaucracy while reflecting on cinema’s power to preserve, distort and reimagine memory. As it unfolds, D is for Distance expands into a broader meditation on technology, capitalism and the systems that shape our bodies and minds. A quietly powerful portrait of resilience, Petit and Matthews’ film reveals how identity survives and adapts when memory disappears.