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RECORD FILM TOTAL SUBMITTED TO BBFC…
…AS PACKAGED MEDIA TOTAL INCREASES TOO …AND SELF-RATING GROWS… …BUT COMPLAINTS SLOW COMMENT ON BBFC REPORT RECORD NUMBER “SHOWS RESILIENCE AND VITALITY THE ODYSSYEY GOES ON AND ON… …WITH IMAX SCORING BIG FOR NOLAN… …SPIDEY CONTINUES STRONG SUMMER… …AND POINTS TO RECORD BOX OFFICE FOR 2025 STRONG YEAR FOR NON-FRANCHISE TITLES TOO WHAT WE’VE BEEN WATCHING PLAYSTATION TO BIN PHYSICAL MEDIA… BUT MOMENTUM BACK TO DISC GROWS… …MAJOR MEDIA OUTLETS REPORT ON PHYSICAL RETURN ON THE ROAD AGAIN DEGI ROADSHOW UPDATES COMMENT ON RECENT SHOWS TOTAL REKALL AS NEW LABEL LAUNCHES… …COMMENT ON MIRACLE MEDIA IMPRINT DOING THE ROBOT… …ARROW TOYS WITH NEW LABEL CRUNCHYROLL INKS PROPER DEAL… …COMMENT AS ANIME ON DISC THRIVES GKIDS GOES FOR GHIBLI GAME LANDS MORE FROM ANTI-WORLDS BFI’S BUMPER PACKAGE… ROSE SAILS OUT… …AFTER STRONG THEATRICAL BUMPER RADIANCE TITLE NEWS LOADS DUE FROM EUREKA MUBI’S BIBLE SPOTTED OUT AND ABOUT SUPPORT THE RAYGUN
TRAILERS OF THE WEEK 
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The Raygun is here again, returning after a hiatus due to assorted ongoing health and personal issues among other things, but we're back to full fitness and back too with a bang and a massive issue. And we promise, we'll now be around regularly too, jsut like we have been for more than 16 years. Keep in touch with us on Bluesky, Letterboxd and LinkedIn and thanks for your patience…
It was a good week for… Both the Odyssey and Spider-Man: Brand New Day continue their great box office performances. Meanwhile, Paramount's deal for Warner has been given the thumbs-up by UK culture secretary Lisa Nandy after gaining concessions from Paramount on elements around Channel 5's independence and streaming …
It was a bad week for… The Paramount and Warner deal still has to pass through legal action in the US from assorted states and is still being opposed by lobbying groups. As one of those, Block The Merger noted: "Our position remains the same – the Paramount Skydance-Warner Bros. Discovery merger is a dangerous consolidation that will harm film, entertainment, and independent press in markets around the world." Expect this one to run until at least March 2027, when the case is due to be heard…
We have been watching… We catch up with some titles we've been viewing below, but before you get there, can we just recommend the action film of the year, The Furious; the pre-school film of the year (so far) Paw Patrol: The Dino Movie (we had some younger correspondents at the multimedia screening who said: "It was really good, because Marshall saved everyone from Dino island"); and Second Sight's Dead Man's Shoes, not least for the commentaries in which director Shane Meadows and producer Mark Herbert discuss the importance of home entertainment and the support of Optimum in helping the film get made… We're also working on our next batch of physical media reviews for Film Stories, so please send us any titles for potential review…
Indie cinema – and theatrical in general – has long been pronounced dead by many (a report in Variety in December 2024 outlined some of the issues facing indie distributors in the UK were facing, leading one of the UK’s leading lights to tell us when we bumped into them “we’re all f*cked, apparently” [swearing censored for sensitive firewalls and email providers]). But the doom-mongering hasn’t stopped people from releasing films at cinemas in the UK, if the latest BBFC annual report is anything to go by. For, in 2025, the report noted, some 1,315 feature films were submitted to the classification organisation, the highest total ever. The number surpassed the previous record, set in 2024 (1,256). At cinemas, 15 was still the most common classification, accounting for 45 per cent of all films released theatrically, followed by 12A, with 35 per cent. The 18 certificate was given to just four per cent of theatrical submissions. Over on physical media, a whopping 4,373 titles were submitted for release on DVD and Blu-ray, up from 4,342 in 2024. Some 40 per cent of these were made up of anime titles, a figure up from 38 per cent there previous year. A third of the anime titles were classified at either 15 or 18, and the fact that parents often deem it to be child-friendly saw the BBFC commission new research into anime. The report said: “The findings showed the BBFC’s approach to anime classification is strongly supported by the public, with 88 per cent of people saying they believe there is a genuine child protection risk if anime is not age-rated appropriately and consistently, and 91 per cent saying those ratings should apply wherever content is accessed — emphasising the need for consistent age ratings across different platforms and formats.”
The BBFC report also noted that 2025 marked the fifth anniversary of the organisation working hand in hand with Netflix on self-rating and, after a trial scheme, the BBFC now has a similar programme in place with Amazon Prime. Research found that almost all (96 per cent) of parents found those Netflix ratings useful, and 77 per cent had increased confidence knowing that the ratings were defined by BBFC standards. It also used a new AI tool to rate all the programming on HBO Max ahead of its March launch, and the BBFC now works with 27 licensees across 28 brands and services in the world of streaming. Seasoned BBFC watchers – and we’ve now been covering the organisation’s annual report for more than 30 years, will note how attitudes have changed, certainly when it comes to complaints. There were just 210 received in 2025, many of which related to films which younger viewers thought they should be allowed to see (Demon Slayer: Kimetsu No Yaiba Infinity Castle and Black Phone 2 received nearly 20 complaints between them – the latter was a sequel to a film that had been given a 15 but received an 18), while 11 complaints about The Roses related to an issue involving an EpiPen. Thunderbolts received a clutch of complaints about blasphemous language, while the 25 complaints about The Housemaid were mainly about a trailer that aired before Wicked: For Good.
Comment on the report came from BBFC president Natasha Kaplinsky, who said: “2025 was a year of enormous progress for the BBFC. We classified more cinema features than ever before, marked the fifth anniversary of our self-rating partnership with Netflix, and engaged with thousands of young people across the UK to help them navigate the changing online world. We continued to embrace technology so our classifications could be delivered as widely and efficiently as possible, including deploying our first ever bespoke AI tool to support HBO Max’s UK launch. We also played an active role in calling for stricter regulation of online pornography, supporting Baroness Bertin's key recommendations that would help protect UK audiences from violent and abusive material online. With the UK Government committing to parity following the publication of the Independent Review of Pornography, and Ofcom’s new Video on Demand code set to place new responsibilities on streaming services, 2026 will be another defining year for the BBFC. Through it all, our mission remains unchanged: to help UK audiences make informed, confident viewing decisions while protecting them from harmful content.”
Further comment came from UK Cinema Association chief executive Phil Clapp, who said: “The BBFC classifying a record-breaking 1,315 feature films in 2025 highlights the resilience and vitality of the UK cinema sector. Beyond the numbers, this also tells a powerful story about how people are choosing to spend their time, particularly with the recent rise of younger audiences flocking to the big screen. The role of the BBFC is now more important than ever in providing the trusted age ratings and expert content advice that cinemagoers have always relied upon.”
As well as its other classification work, across elements such as music videos, its work with UK mobile operators, its outreach and educational work, the BBFC also published a report by Baroness Bertin, outlining potential regulation of online p*rnography (again, this has been asterisked to avoid getting blocked), Creating A Safer World: The Challenge Of Regulating Online P*rnography. Its research showed that four in five adults said they would support new legislation to “align online standards with existing offline regulation”. Baroness Bertin said: “I worked closely with the BBFC throughout my review and continue to do so; the vital work they do in classifying p*rnographic content has never been more important. During my time with them, I was deeply shocked by the violent, abusive, and deeply harmful material I was shown that still exists online — material that directly informed the urgent recommendations in my review. The BBFC makes it clear that this content is illegal to supply and distribute offline. We must apply those exact same standards to the digital world. Just as the 1984 legislation made BBFC classification mandatory for physical videos, we need a similar regulatory framework online to protect the public. While we have recently seen critical changes to the law, such as the Crime and Policing Act bringing some robust standards online, there is still more to do. I am delighted the Government has committed to parity and bringing in regulators where needed. The BBFC has the expertise and experience needed to underpin a strong regulatory framework, and I hope the Government will consider this.”
More soon and the BBFC report will also be covered by us in depth in a forthcoming issue of Film Stories.
Christopher Nolan always equates with big box office and home entertainment releases and his latest, The Odyssey, has seen all kinds of records tumbling as it opened with some of the year’s best figures thus far. Its £12.6 million opening was, at the time, the second biggest of the year, bettered only by Toy Story 5 (making it the biggest non-franchise opener), and boasted the biggest receipts of any Friday in 2026, additionally the five-star rated film was also the fifth-biggest Friday opening ever for Universal. It also represented the second biggest opening weekend ever for a Christopher Nolan film, one bettered only by The Dark Knight Rises, putting it ahead of The Dark Knight and even his most recent outing, Oppenheimer. Its second weekend was almost at similar levels, just under £12 million and, as it entered the last week of July, it had taken more than £35 million, putting ahead of even Oppenheimer in the Nolan stakes. The film has now taken more than $1 billion worldwide, the third Universal film to pass that magic number this year (The Super Mario Galaxy Movie and Michael, which it handled in territories outside of the US), with more than $400 million of that coming from the US and a very healthy £55 million plus coming from the UK and Ireland (the August 7-10 weekend figures had yet to be announced in full when The Raygun went to press).
Perhaps The Odyssey’s most impressive achievement was in IMAX cinemas, where the film, shot using IMAX cameras, real comes into its own. It’s the biggest ever IMAX opening in the UK, and became the fourth biggest IMAX film of the year after just two days. Its £219,867 from the BFI IMAX at London’s Waterloo cross its first three days made it the biggest ever at the cinema, besting The Last Jedi’s total which had stood for almost a decade. The total made the BFI’s IMAX the biggest single IMAX screen result worldwide. Its total sales – it has sold out more than 170 screenings in the next two months and those pre-sales, totalling a mammoth £2.2 million, make it already among the highest ever earners at Waterloo. More than 20 per cent of the film’s UK box office thus far has come from BFI IMAX programme manager Madeleine Mullett commented: “As the only cinema in the UK to hold a complete archive of Christopher Nolan’s IMAX 70mm filmography, now including The Odyssey, we are proud to be the home of Christopher Nolan on film. Across the BFI, our commitment to preserving and celebrating celluloid, alongside the filmmakers who continue to champion this format, speaks to the enduring power of storytelling and the unique communal experience of seeing film on film. The extraordinary demand for our IMAX 70mm presentation of The Odyssey, experienced as intended by the filmmakers, is ultimate proof of the appetite audiences have for cinema at its most authentic.”
Following hot on the heels of The Odyssey came Spider-Man: Brand New Day, another film which has got people who rarely go to the cinema out of their homes and in to their local multiplex, judging by its opening weekend figures of £23.5 million, the fourth biggest opening weekend ever. The film shattered other records along the way – the fastest film to pass $500 million at the US box office, the second fastest film to pass $1 billion at the worldwide box office and the biggest ever opening weekend in the US, with $360 million. As The Raygun went to press, it had amazzed almost $1.7 billion, making it 12th on the all-time box office list. Chairman and CEO of Sony Pictures Motion Picture Group Tom Rothman said: “Wow! 360 million thank-yous to all the filmmakers, actors, producers, and to my colleagues at Sony, who created such a fantastic film and an exceptional marketing and distribution campaign. Records are made to be broken, but we will take great pride in this one, for as long as we hold it.”
The stunning figures for the likes of The Odyssey and Brand New Day, and, before it, the likes of Toy Story 5 and Michael, are likely to propel the worldwide box office figures to pre-pandemic levels, with experts predicting it could pass $10 billion by the end of the year. It certainly looks like being the best year for UK box office since the pandemic – according to Screen, July box office was up 35 per cent year on year, and the current yearly total is, at £783 million, up 18 per cent on 2025 and well ahead of the year before that.
A few noteworthy titles worth mentioning are horror’s Backrooms (more than £13 million) and Obsession. The latter has taken £19.5 million. Both those two are now premium digital releases. Obsession is one of the films we’ve caught up with at the cinema recently and, alongside Backrooms, points to a potential return of those lucrative films beloved of distributors in the early part of the 21st century, low and middling budget films that breakout at cinemas and go on to become home entertainment hits; a callback to a different era. But they’re also signifiers of some of the changing elements of the business, highlighting how online word of mouth and comment can make or break a film and how traditional marketing doesn’t always work anymore. It’ll be It’ll be interesting too to see how they perform as home entertainment options. Already, their premium home releases have propelled them both into the top 10 of the Official Film Chart, with both still enjoying top 10 successes at the theatrical box office. It’s a concept that would have appeared alien some time ago – films in the upper echelons of both cinema and home entertainment charts earning revenue across the board – but that’s the reality. Physical media releases of both are likely to follow.
Of course, we’ve been keeping up to date with assorted home entertainment releases in our absence, chief among those we’ve seen have been Epic, Baz Luhrmann’s wonderful film charting Elvis’ Las Vegas live shows (despite everything we learnt from the recent biopics, notably Sofia Coppola’s Priscilla, he’s still a mesmerising performer), which is certainly one of the year’s finest outings, and loads of others, all of which have been listed on our Letterboxd. Other highlights included Eureka’s latest Laurel and Hardy offering, Studiocanal’s definitive Leaving Las Vegas and Highlander sets and, more recently, Second Sight’s wonderful new Dead Man’s Shoes set. We’ve still been covering physical media titles for Film Stories magazine, across print and online, as well as covering film and more for Shindig magazine (the latest issue includes a cover story by The Raygun’s Tim Murray on The Cramps and a feature on discosploitation releases from Severin. We’ve yet to see The Odyssey at cinemas, not least because we spent four days at Cinema Rediscovered in Bristol, viewing a veritable feast of restored films, many of which, such as Studiocanal’s exemplary restoration of Billy Liar and Joseph Losey’s masterful Accident, are heading to physical media. We did, however, catch up with one of the year’s best comedies in the shape of The Invite.
And, with an effortless segue, we move into the world of physical media and differing opinions on the future of shiny discs. Ironically, Sony’s recently announced move – it will no longer be producing physical discs for games for its consoles from January 2028 – has sparked another wave of features across numerous websites and print, ranging from indie sites to more mainstream outlets. It has also drawn gamers into the discussion about physical media, drawing ire from hardcore fans of PlayStation, as well as indignation and mockery, not least for the fact that little more than a decade ago, PlayStation bosses were taking the mickey out of the rival Xbox for its move away from discs: Back then, boss of Sony Computer Entertainment’s US arm Jack Tretton said: “Trade in the game at retail. Sell it to another person. Lend it to a friend, or keep it forever. When a gamer buys a PS4 disc, they have the rights to use that copy of the game.” A whole demonstration video on how to share games showed one exec simply handing another a disc, which led to further ribbing of Sony’s thinking, alongside a raft of articles criticising the move.
Sony’s move, coupled with the fact people who bought Studiocanal titles across Europe are set to lose their digital copies from their libraries as licenses expire, have seen a rash of comment pieces about the importance of physical media. As IndieWire noted: “What’s been striking, though, is just how forcefully film and television lovers have reacted to the shift as well. The outrage isn’t about losing access to convenient entertainment, but a growing sense that the media people thought they owned is now subject to the same instability governing much of modern life. Viewed through that lens, physical media ownership in 2026 isn’t about monetized nostalgia or even the attention economy. It’s an act of consumer self-defence and a vote of no confidence in a purchasing landscape that asks people to keep paying for access while denying them the comfort of certainty. As streaming became the dominant way audiences consume entertainment, a shelf full of stuff started to look like a relic of a clumsier time that most folks were happy to forget. When titles started disappearing from their digital collections, however, those dusty stacks reemerged as both a critical contingency plan and material proof that the media business was changing.”
The excellent piece – see it here also notes that there’s a growing wave of people who believe that “if buying isn’t owning, then piracy isn’t stealing”. “It’s a far more aggressive (read: legally dubious) stance than Physical Media Matters, but it isn’t a celebration of theft either. It’s an accusation that the marketplace has broken its side of the bargain — and culturally, both mottos are answering the same philosophical question: What happens when people stop trusting the institutions responsible for preserving the art they’ve already paid to support? There’s no reliable way to measure how many people in the gaming, film, or TV worlds are actively embracing private torrent archives, but online conversation increasingly frames the illegal practice as a practical solution. For now, the industry ought to consider itself lucky that Physical Media Matters seems to remain the dominant response. People are still buying movies, and interest in repertory cinema has never felt more vibrant. But if audiences choose to keep building up their personal collections through legitimate means instead of the black market, that will be their choice. And Hollywood should be careful not to convince them otherwise.” And as if that and the lengthy newsletter you’re now looking through aren’t enough, there’s more reading here, as CNN gets on board and Forbes notes how Gen Z is turning to physical media too. With some 500 attendees, 152 organisations represented, 90 different speakers and panellists, sponsors and partners from 15 different companies and five different European markets covered off, taking in Stockholm, Berlin, London, Paris and Rome, the DEGI Roadshow has completed its latest series of events. It boasted record attendance across its five destinations and, as part of DEGI’s largest and most ambitious roadshow programme, claimed “high levels of engagement and overwhelmingly positive feedback”. DEGI said the level of support from sponsors and partners showed the growing importance of the roadshow and the “appetite for collaborative, cross-sector discussion across the entertainment ecosystem”. Further collaboration came with DEGI’s work with local trade associations in the Nordics, Germany, France and Italy and our own BASE in the UK.
The Roadshow presented, across its five locations, 10 different themes for presentations, discussion and insight that were the “signals shaping the future of screen entertainment. These were transactional entertainment continues to strengthen (looking at how transactional formats were exceeding expectations); premium drives growth (how audiences were seeking early access to new releases); cinema remains resilient (a healthy release slate and strong demand were helping box office); premium physical continues to find its audience (how collector’s editions and premium formats were driving sales and engaging consumers); catalogue underpins the market (how audiences are discovering classics and favourites giving long-term to the market); local content creates momentum (how homegrown productions are drawing audiences and succeeding); communities drive discovery (fandoms, creators, recommendations and niche interests are helping consumers discover content); tackling piracy requires collective action (how the industry needs to collaborate and work with authorities to battle the scourge of piracy); and AI works best when human-led and collaboration remains the industry's greatest strength (“across every market, delegates consistently highlighted the value of coming together to share insight, address common challenges and identify future opportunities”).
Comment on the roadshows so far came from DEGI and BASE chief Liz Bales, who said: “This year's Roadshow has exceeded all expectations. Across every market we saw exceptional engagement, thoughtful discussion and a genuine willingness from organisations across the industry to collaborate on the opportunities and challenges ahead. What stood out most was the breadth of voices involved, from studios, streamers and distributors to technology companies, trade associations, researchers and creative leaders. The strength of our sponsorship programme, the introduction of EIT Culture & Creativity as a strategic partner and the overwhelmingly positive feedback from delegates demonstrate just how valuable these conversations have become. The scale of the series is illustrative of the increasing relevance and contribution of Home Entertainment and specifically the transactional part of the business. Transactional entertainment has emerged as a powerful revenue driver, bridging and complementing theatrical distribution and streaming. Offering consumers the widest title selection and through premium releasing, consistently the freshest and most exclusive titles straight from cinema. In each of the Roadshow territories and beyond the trends across audience engagement and spend are strong and strengthening. As we look ahead to Munich and beyond, we're incredibly grateful to our speakers, sponsors, partners and attendees for helping make the 2026 programme our most ambitious and impactful yet.” DEGI and BASE chief executive Liz Bales was joined for fireside conversations in both Paris and London by Sony Pictures Entertainment’s senior VP from California Liz Allen, who said: “I was delighted to participate in the DEGI roadshows and join colleagues, partners, and industry leaders for conversations about the future of home entertainment. What impressed me most was the level of engagement across DEGI roadshow events and the fresh perspectives shared on the opportunities and challenges shaping our industry. The discussions reinforced my confidence in the continued strength of home entertainment and the bright future ahead as our industry adapts, innovates, and evolves.”
With talk of physical media still prevalent across print and online, now is as good a time as any to launch a new label and latest on the block is Rekall Films, launched by Miracle Media and distributed by Trinity Content Partners, the new imprint will be “dedicated to the wild and wonderful world of cult cinema”. Rekall, launching later this year, will feature a diverse selection of titles spanning multiple genres, ranging from “underground favourites to celebrated cult classics and essential treasures”, and will release across Blu-ray and 4K formats. It pledges to be decidedly non-mainstream and is aimed squarely at collectors and film fans, with premium presentations wrapped up in new artwork and deluxe packaging with additional materials. The slate of titles will be unveiled shortly, but it will, Miracle said, set out its stall. It will, the announcement teased, include “a horror collection with strings attached, the Lee brothers high kicking their way through an arcade classic, a double helping of Brussels’ finest, an Albert Pyun thriller with a sprinkling of Gangster Rap royalty, a Karate Kid clone, and a genius golden retriever”. (You can make your own guesses as to what these might be.)
Rekall Films releases will be distributed by Trinity Content Partners, with product manager Gerry Cole acting as lead producer. He said “Rekall Films has been created out of a genuine passion for cinema and physical media. Our ambition is to give every release the care and attention it deserves, combining exceptional presentations with curated supplementary content, featuring both brand new and archival content celebrating each film's place in cinema. We look forward to bringing audiences a carefully selected catalogue from established fan favourites to overlooked classics that deserve to be discovered.” Director of product and marketing for Trinity Content Partners, Tim Scaping added: “As one of the UK's leading independent film distributors, providing distribution services for a number of high - profile physical labels, it's exciting to launch a new in-house imprint with the freedom to acquire titles that we want to see brought to a wider audience. While we continue to develop our international presence in digital streaming services, the launch of Rekall Films demonstrates our enduring commitment to physical media and our continued belief in its future.”
Arrow has been setting the standard for boutique labels for a good few years now, helping define what makes a good release, shaping the market and flying the flag for physical media. And now it’s launching a new imprint Toy Robot, which is releasing its first titles in September. The subsidiary label for Arrow Video will, the company said, offer up “temptingly-priced cult-tastic” titles and “aims to recreate the wondrous experience of browsing titles at the local video store - except this time they’re yours to own and cherish, with fabulous new cover artwork, film masters transferred from the best elements available, colourfully-branded OBI-Strips, slip cards, art cards, and extras - and at pocket money prices, so you’ll have money left over for snacks”. First titles on Toy Robot include two out on September 7: The Guyver 2, aka Guyver Dark Hero, the US made anime sequel, with two versions, the original and enhanced effects version, spread across two discs (the label said “there’s only one thing better than a Guyver disc - and that’s two Guyver discs!”); a first time release for Sonny Chiba martial arts action comedy Roaring Fire (“proper old school chop socky, this film’s got the lot, including a fighting monkey”); LA Law and video start Corbin Bernsen in slasher Marshmallow (“a brand new slasher with an 80s vibe!”) out on September 14; and, on September 28, early 80s Japanese action in Ninja Wars (“Stylised violence, eerie atmosphere, and supernatural elements… what’s not to love?”). Further titles due in October include the seasonally themed Trick Or Treat, featuring guest appearances from Gene Simmons from Kiss and Ozzy Osbourne; High Road To China (as Toy Robot said “Selleck in a biplane and a score by Bond composer Barry? I’ll take the high road please!”) and, from Japan, Manhunt.
Comment on the new label came from industry stalwart and now Toy Robot Video’s Mike Hewitt, who said: "We are thrilled to announce the launch of a new home entertainment video label across the UK, US and Canada. With a resurgent interest in physical media, especially amongst younger film fans, Toy Robot Video is intended to be a fun and inclusive label, designed to complement our core Arrow Video brand, spreading the joy of physical media ownership outside the boundaries of cult fans and cineastes. Toy Robot Video will deliver an expansive variety of content, incorporating a range of mainstream titles and genres - with more comedy and even animation. We couldn't be more pleased with our launch titles, including a 4K UHD release of 1987's Masters of the Universe in the US and Canada, and we are incredibly excited about our forthcoming slate for the remainder of 2026 and beyond."
Meanwhile, physical music distributor Proper Music Distribution (PMD) has signed on the dotted line with Crunchyroll to distribute the anime giant’s home entertainment products on physical media. The deal takes in B2B fulfilment, invoicing and cash collection services for Crunchyroll’s DVD, Blu-ray and 4K UHD catalogue across the UK and Ireland and will see PMD getting Crunchyroll product into retailers such as hmv and Amazon. It comes as anime continues to grow in the UK – Crunchyroll has passed the 21 million mark for subscriptions worldwide the year – and has premium video releases and collector editions continue to grow in prominence in the physical media market. Proper is also continuing to add video products to its music distribution and claims its one will “reduce unnecessary packaging and transport logistics by combining video and music products into the same shipments to retailers – creating environmental efficiencies across the supply chain”. Proper already looks after Entertainment in Video (EV) and Wienerworld.
Comment came from Proper MD Drew Hill who said: “We’re delighted to welcome Crunchyroll to Proper. Anime continues to be a hugely important and fast-growing category within physical entertainment. Whether it’s DVD, Blu-ray, vinyl or CD, this partnership reflects the confidence that major entertainment brands have in our expertise and reach.” CEO at Venture Entertainment Matt Burton added: “We’re delighted that Crunchyroll is now part of Proper’s excellent distribution network. Having worked with Proper for more than 25 years, I can’t think of a better home for the brand. As a wholesaler, we rely heavily on speed, accuracy and reliability, and Proper consistently delivers on all three. Their professionalism, attention to detail and commitment to customer service have made them a trusted partner for decades, and we look forward to continuing our successful relationship with them.” Further comment on the importance of anime and physical media came from BASE chief executive Liz Bales who said: “The continued growth in demand for anime within physical entertainment is a testament to both the relevance of the genre across the entertainment lifecycle and the power of passionate fan communities. The physical market remains incredibly resilient, buoyed by highly engaged audiences and thriving sales of premium formats, with the value of the 4k Blu-ray market up 19.5% YoY in 2025. Strong infrastructure remains essential to connecting consumers with the content they love, and it’s encouraging to see continued investment in a category that is sustaining fans, attracting new audiences, and contributing to the ongoing success of physical entertainment.”
Animation and distribution specialist GKIDS has acquired the UK and Irish distribution rights to the Studio Ghibli’s library. Made up of 23 films, the library includes Ghibli’s award-winning and hugely successful catalogue taking in huge anime titles such as Spirited Away, The Boy and the Heron, Howl’s Moving Castle, The Tale of The Princess Kaguya, The Wind Rises, When Marnie Was There, Kiki’s Delivery Service, Princess Mononoke, My Neighbor Totoro, Ponyo, and Castle in the Sky. The deal will see the Ghibli titles being released at IMAX cinemas in the UK and Ireland, kicking iff with Kiki’s Delivery Service on August 21, with further titles such as Arrietty and Whisper Of The Heart to follow. There will be further releases of Studio Ghibli 4K Remasters in the autumn and beyond and, more pertinently for here, entirely library will be released across “all home video platforms”. The GKIDS statement added; “Most of the Ghibli titles have had limited availability in the territory for several years.” The deal takes in theatrical, home video, TV, and digital, but will not include streaming, with Ghibli’s global sales agent Goodfellas recently inking a deal to licence the library to Netflix. GKIDS already handles Ghibli titles for all formats, including streaming, in the US The titles will be released by GKIDS in partnership with sister company Anime Limited. The Glasgow-based distributor was recently acquired by GKIDS parent Toho Global.
Comment on the GKIDS and Studio Ghibli deal came from the former’s president David Jesteadt said: “GKIDS is delighted to extend our relationship with Studio Ghibli into the UK and Ireland, and to have this opportunity to reintroduce these incomparable films to audiences old and new. We promise UK and Irish fans that we will take loving care of the Ghibli catalogue, beginning with the IMAX release of Kiki’s Delivery Service this summer, and expand from there across all home video and digital platforms. Our deep thanks to our longtime friends at Goodfellas for entrusting us with these masterpieces and to everyone at Studio Ghibli for their continued trust and support.” Vincent Maraval, president of Ghibli’s worldwide sales agent Goodfellas added: “We are very happy to be working together with GKIDS to bring the renowned Studio Ghibli library to UK and Irish audiences. GKIDS has a deep understanding and passion for the films, and they have been exemplary in their management of the Ghibli brand in North America.”
One of the best films of the past 12 months, Brit indie Game, the first feature from independent record label turned producer Invada, which boasts the involvement of label founder and former Portishead main man Geoff Barrow, was given a digital premiere in the middle of June, with the film getting a physical release at the end of June, across Blu-ray and, in a novel move, on a printed flash drive too. The Raygun’s Tim Murray spoke to the team behind the film, including Barrow, for a feature for the magazine online (see it here) As Barrow noted: “It was always part of the plan, even while we were writing it. I think it’s well known now that you’ve got to basically push as much physical as possible. We’re all collectors and fans of physical media. Invada Records is a vinyl company, ultimately.” The digital release was looked after by The Movie Partnership, whose Michael Lee told us: “Andy Starke [from Anti-Worlds) a long-time friend of the Movie Partnership, introduced me to Geoff to see if we could help the release of Game. We all watched it and loved it. It’s a very contained thriller, set in the 90’s rave scene, super tense and claustrophobic. Such a great role played by Sleaford mods Jason Williamson as the terrifying poacher. It’s a really accomplished first time film and I’m very pleased we are now able to let it be seen digitally.”
Mention of Anti-Worlds and its co-founder Andy Starke brings us on to more from its Anti-Worlds Originals (“building a unique library of weird and wonderful films that otherwise may not find the light of day... let’s celebrate the different!” as it said on its launch), with the imprint’s third release, The Haunted Moustache, a filmed version of writer, broadcaster and multi-hyphenate David Bramwell's award-winning stage play, radio show and book. As Anti-Worlds said: “The film tells of an epic quest to unlock the mystery of an occult heirloom that takes David Bramwell into the underbelly of 90’s bohemian Brighton.” Like other Anti-Worlds Originals, it comes in a limited edition (1,000 only have been pressed), with no vod option, eschewing digital for physical media. Better still, it also comes with a soundtrack CD by Oddfellow's Casino - Bramwell’s own pastoral psyche-folk band. Next up from the Anti-Worlds empire is a box set, Divergent View The Feature Films Of Bertrand Mandico, featuring a trio of films from the cult French director, The Wild Boys, After Blue and She Is Conann and due on August 24. Anti-Worlds said: “Mandico's films are a unique re-imagining of cult, underground, transgressive, psychedelic and experimental cinema. Dazzling adventures into visual worlds. Gender defying travels in time and space. A truly original cinematic voice.”
The end of July saw the BFI kicking off its third quarter titles with the release Stanley Kramer’s On The Beach and it continue into August with some belters, including one of the best films we’ve seen this year, the excellent Rose Of Nevada, the latest from Mark Jenkin, the talented homegrown director behind the equally wonderful Bait and Enys Men (with industry luminary Johnny Fewings one of the executive producers). Here’s the BFI’s Ben Stoddart running through the slate. He said: “From an undisputed Hollywood classic to a film that perhaps owns the phrase ‘It’s so bad it’s good’, the BFI’s Q3 is another eclectic mix that offers something for everyone! July saw the release of Stanley (Guess Who’s Coming to Dinner) Kramer’s On the Beach, which sees some of Hollywood’s biggest names facing that most enduring of situations…..the end of the world. August 10 sees Peter Brook’s epic miniseries The Mahabharata, finally released on Blu-ray having been restored in 4K by his son Peter Brook. Later this month, Mark Jenkin’s Rose of Nevada will make its bow on Blu-ray and DVD alongside The Cornish Trilogy, a Blu-ray box set featuring the director’s previous two films, Bait and Enys Men, as well as Rose of Nevada. Jenkin’s latest film has been an indie hit at cinemas and has grossed over £600,000 to date. Supported by a Q&A tour that saw the director visit 27 cinemas in a month; the film has found audiences across the UK. Starring Callum Turner and George MacKay, Rose of Nevada is Mark’s highest grossing film to date and is BFI Distribution’s biggest ever new release."
Carrying on with the BFI’s Q3 slate, the company’s Ben Stoddart said: “Released on Blu-ray in September are Horace Ové’s Pressure, restored by the BFI National Archive and The Film Foundation in 4K, alongside Dan Farson’s Guide to Britian Vol.2 (Blu-ray/DVD), which sees the intrepid reporter exploring everything from nudists to unmarried mothers, with a bit of Shirley Bassey thrown in for good measure. Volume 1 was well received by people, so we’ve got high hopes for the follow-up! Last but by no means least is October’s release of Edward D Wood Jr’s Plan 9 From Outer Space, which is a film that probably needs very little introduction. Beloved by many, Plan 9 has truly stood the test of time, and will now be given the release it richly deserves on BFI Blu-ray.”
More on the Rose Of Nevada – the film really is that good and has now become a record-breaker for the BFI, as outlined by the company’s Phil Roberts, who said: “Rose of Nevada has proved a genuine indie hit in UK cinemas, passing £650,000 at the box office and cementing Mark Jenkin's status as one of the most distinctive and innovative directors in the UK and beyond. Boosted by an astounding 27 sold-out in-cinema Q&As, the film is now BFI's most successful ever new release. We will be bridging the gap to Home Ent (in August) with live score screenings (including at the BFI IMAX!) and the US release, which is sure to generate even more press and social coverage amongst stateside cinephiles. As well as the regular Blu-ray, we are releasing a three-disc Cornish Trilogy featuring Mark's earlier films Bait and Enys Men. Physical and Digital sales of Mark's films have always out-performed comparative UK indie films, and we will be supporting Rose of Nevada with a considerable budget across digital, co-op and events.”
Meanwhile, being away on hiatus, we’ve missed lots of big boutique label announcements, including a raft by Radiance and its associated labels. So, here’s a run through from the company’s Bruno Savill De Jong, starting with August. He said: “Our followers eagerly responded to a new box set of World Noir Vol. 5 that homes in on the intersection of the genre and Italian neorealism, promising more international noir gems and healthy supplemental materials and writing around them. We're also pleased to showcase The Magnificient Cuckold, an excellent one-sided marital crisis between Ugo Tognazzi and a radiant Claudia Cardinale, utilising a new 4K restoration of the film from the original camera negative by the Cineteca di Bologna. Kadokawa Studios also provide a new 4K restoration for the dark satire Ten Women In Black by Kon Ichikawa, which has particularly pleased fans of Ichikawa and 60s Japanese cinema. We also announced our first UHD upgrade of a pre-existing Radiance title with The Hot Spot, making use of the new 4K restoration to continue showing this steamy neo-noir in the best quality possible. This 4K restoration was overseen and approved by cinematographer Ueli Steiger, providing customers with an opportunity to enjoy a Limited Edition with the same existing supplements and extras but now an even better grade and quality. Finally, we're also glad to continue our collaboration with Chasm Films by hosting their release of The Last Circus, a landmark of Spanish cinema by Álex de la Iglesia which has many excited by the upcoming Euro arthouse-horror of Taxidermia.”
Into September, and there’s another diverse selection from Radiance, as outlined, once again, by Bruno Savill De Jong, who said: “Our September announcements showcase the wide range of our catalogue and deep taste of our audiences. Abel Ferrara is a welcome addition to our roster of offbeat auteurs, with New Rose Hotel offering new interviews from Ferrara and Asia Argento on this release. We are also happy to showcase another surreal classic from Wojciech Has on UHD with The Sargossa Manuscript and showcase an underrated gem of Italian 60s cinema with Corruption. There's been particular excitement around The Inugami Family, a popular murder-mystery adaptation by Kon Ichikawa that is relatively unknown outside of Japan but has a very strong following. And with Treasures From The Golestand Film Studio we are proud to present the complete works of this influential Iranian studio, including acclaimed and ground-breaking documentaries, shorts and feature films. Plus, our new Transmission release of Joe features an eerily relevant piece of bigoted bonding in John G. Avildsen’s pitch-black satire.”
Ending with October from the imprint, and Bruno Savill De Jong said: “We're very happy with the reaction to our October titles, which is always a hotly anticipated month in the physical media world. VISITOR Q is sure to please Takashi Miike fans, being one of his most controversial and provocative works, now available for the first time on Blu-ray in the UK and US. The Monster provides a satirical giallo with a commentary on the nature of press and opportunism. La Marge provides a tale of erotic entanglement from Walerian Borowczyk and Planet Of The Vampires receive a UHD Upgrade that utilises the full 4K restoration of Mario Bava's influential horror sci-fi hybrid. But the two stand-outs in terms of sales and reactions has been our box set Fantastique, a unique collection of French films from 1930-1996 that exist between horror and wonder, including directors like Charles Vanel, Marcel L’Herbier, Jean Kerchbron, Juan Luis Buñuel and Raúl Ruiz. And also, Who Can Kill A Child, debuting on UHD for the first time for Narciso Ibáñez Serrador's masterpiece of tension and landmark of the Euro-horror genre."
 The theatrical launch of Spider-Man: Brand New Day was greeted by a raft of activity at hmv's flagship store on Oxford Street, which is now one of the top destinations for theatrical launches, especially when it comes to big franchise releases with licensing activity around them. Some 2,000 Marvel and Spidey fans, loads in outfits too, turned up for this one
Elsewhere, Eureka has unveiled its September releases, with the company’s national accounts manager Marcus Garwood running through its slate for the month. He said: “Tales and trails are the elements delivering our collectable film offerings this September. Tales first then, as we present Cruel Tales Of The Bohachi, a dual format (UHD and Blu Ray) Masters Of Cinema set containing Bohachi Bushido: Code of the Forgotten Eight and Bohachi Bushido: The Villain. Both films are prime examples of the ero guro jidaigeki (period films with a focus on eroticism and the grotesque), reflecting the shifting depictions of sex and violence in Japanese cinema of the 1970s. Our Masters Of Cinema series is honoured to present both films for the first time on UK home video. The release will be protected by a limited edition O-card slipcase featuring new artwork by Poochamin, there will also be a limited edition collector’s booklet featuring new writing on the Bohachi Bushido films by Jennifer Coates, author of Film Viewing in Postwar Japan, 1945–1968.
Continuing with Eureka’s September releases, the company’s Marcus Garwood said: “Trails next as we continue our series of DEFA Foundation film restorations with Eastern Trails: The Western At DEFA. This two-disc Blu-ray set contains four films, Chingachgook The Great Serpent, Fatal Error, Apaches and Blood Brothers. Following the enormous success of The Sons Of Great Bear in 1966, East Germany’s series of Indianerfilme remained popular for the next two decades, finding enthusiastic audiences throughout Central and Eastern Europe and even as far afield as Cuba. All films in this set appear on Blu-ray for the first time in the UK. This collector’s edition will have a limited edition hardbound slipcase and interior packaging featuring new artwork by Colin Murdoch. Inside there will also be a limited edition collector’s book featuring part one of a new extended essay on the history of the DEFA Indianerfilme by Lee Broughton, author of The Euro-Western.”
On to October from Eureka and its national accounts manager Marcus Garwood outlined the seasonally-themed package. He said: “The horror, it’s all about the horror (with a side-serving of fantasy) this forthcoming October at Eureka Entertainment, as we creak open the door to unveil the following essential additions to your film collections.Atmospheric 1950s cult gothic horror is up first as we welcome to UK Blu-ray for the first time The Screaming Skull. Adapted from a short horror story by Francis Marion Crawford and marking the directorial debut of Alex Nicol (better known for his acting performances in the likes of The Man from Laramie and The Twilight Zone), The Screaming Skull is a hidden gem from the vaults of American International Pictures. The release will feature a limited edition O-card slipcase and interior packaging featuring new artwork by John Dunn, plus a limited edition collector’s booklet featuring new writing on the production and marketing of The Screaming Skull. Limited edition two-disc Blu-ray set Ghouls Gone Wild is up next and brings a collection of three wildly entertaining tales of ghosts, magic and supernatural mayhem from East Asia, namely Scared Stiff, The Haunted Cop Shop and Magic of Spell. Ranging in tone from laugh-out-loud comedy to straight-faced terror (sometimes in the same film) and featuring a litany of ruthless killers, restless spirits, vengeful jiangshi and infernal devils, Scared Stiff, The Haunted Cop Shop and Magic of Spell encapsulate the incredible range of Chinese-language horror filmmaking in the 1980s. Presented from new 2K restorations, all three films make their UK Blu-ray debuts. Disc extras are extensive and the release will also feature limited edition O-card slipcase and limited edition booklet.’
Still on October from Eureka, and Garwood continued: “After its hugely successful limited edition run, we are bringing the standard edition Blu-ray and UHD releases of Pascal Laugier’s masterpiece Martyrs into our October mix. Horrifying and thought-provoking in equal measure, it is a deeply philosophical and challenging work of extreme cinema – and undoubtedly one of the finest horror films produced in the twenty-first century. Rounding off the month with that side-serving of fantasy as we deliver part two in our series of Folktales at DEFA – Beneath The Trees: Folktales at DEFA II. This three-disc Blu-Ray boxed set contains some of the greatest – and strangest – folktale films made in the German Democratic Republic: The Tinderbox, Snow White, Snow White and Rose Red, The Frog King and The Robe. Our Masters Of Cinema series is proud to present these five Märchenfilme for the first time on Blu-ray in the UK. This stunning collectors boxed set features a limited edition hardbound slipcase featuring new artwork by Carly A-F, reversible inner sleeves featuring new artwork for each film, plus a limited edition 60-page book featuring a new essay on the production design of DEFA’s folktales by Märchenfilme expert Corinna Alexandra Rader, new notes on each film in this set by DEFA historians Sebastian Heiduschke and Qinna Shen, plus the original Hans Christian Andersen and Brothers Grimm stories that inspired The Tinderbox, Snow White, Snow White and Rose Red, The Frog King and The Robe. Disc extras are plentiful, including a new interview with German cinema expert Rachel Palfreyman on the history of folktales in German culture and their adaptations in West and East Germany; a new video essay on DEFA’s adaptations of Snow White and Snow White and Rose Red by film and animation scholar Sam Summers."
Streaming service turned distributor and ore MUBI has announced the latest book publishing venture from the company in the shape of The Faust Bible: The Making of F.W. Murnau’s Masterpiece. The MUBI Editions title, presented in partnership with la Cinématheque Francaise, celebrates the centenary of FW Murnau’s film Faust by publishing, in full, the long-thought-lost making of the film book made by crew and presented to the director. The manuscript was recently discovered after being thought destroyed during the Second World War, and as well as a facsimile reproduction of the original book, includes new annotation, essays and other material. Daniel Kasman, MUBI’s Vice President of Publishing said: “Preserving and revitalizing film history is at the heart of what we do at MUBI. The discovery of the astonishing Faust ‘Bible’ presents a beautiful opportunity to share this glorious classic of silent cinema with audiences new and old. It offers profound new insight into the mind of one of cinema’s greatest auteurs, revealing the meticulous artistry behind this groundbreaking visual fantasia, created by some of the most talented craftspeople of their day—while standing as a remarkable work of art in its own right. It is a true privilege to partner on this publication with la Cinémathèque française, whose legendary dedication to film programming and archiving serves as an inspiration to us all.” Laurent Mannoni, Scientific Director of Heritage at la Cinémathèque française, said: "One of the most influential and pioneering filmmakers of the silent era, F.W. Murnau was known for the privacy of his film sets. Reluctant to welcome visitors, he was even less inclined to reveal his creative process. The rediscovery of the Faust 'Bible' offers extraordinary insight into the making of one of cinema's great masterpieces. Published in its entirety for the first time, it allows readers to trace the creation of this legendary film."
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TRAILERS OF THE WEEK
Another A24 winner…
https://youtu.be/bXg3Y1ZiKcU?si=UKfLeKRxA8zJp3gM Another children’s franchise makes it to the big screen…
https://www.youtube.com/watch?v=zz_CEwqZYn4
The Wicker Man was already taken…
https://youtu.be/UVAki9SGrlg Remember me?
There Wulf
Still angry…
Having a whale of a time
There is no-one better to play Mark Zuckerberg
https://youtu.be/vD_8TlCg_B8?si=cQJsMGK7yaYyKkZN
The Catfather…
THE OBLIGATORY GDPR BIT
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