Matrix 4 starring Priyanka Chopra Jonas, Keanu Reeves, Carrie-Anne Moss, Jada Pinkett Smith, Lambert Wilson, and Daniel Bernhardt has got a title. Warner Bros announced the title of the fourth instalment in the franchise and it’s called The Matrix: Resurrections.
According to PTI, the studio also unveiled the trailer of the film at a downsized CinemaCon, billed as "the largest gathering of movie theatre owners from around the world" in Las Vegas.
The Matrix: Resurrections is written and directed by Lana Wachowski who had helmed all the three films in the franchise with sister Lilly. Apart from Reeves, original trilogy star Carrie-Anne Moss also returns for the fourth instalment, and Priyanka is the new addition in the film.
According to The Hollywood Reporter, while the trailer was shown at the CinemaCon, it is not released online.
Reeves has been playing the character of Neo in the franchise, but, reportedly, the trailer starts with his character named Thomas Anderson in therapy, telling his therapist (Neil Patrick Harris), "I had dreams that weren't just dreams. Am I crazy?"
Thomas senses something is off with the world, and he doesn’t remember what The Matrix is. Later, he runs into a woman (Moss) at a coffee shop. They shake hands but neither one remembers the other. Thomas spends his days taking prescription blue pills, and wondering why everyone is glued to their phones, and he is the odd one out.
Later, Thomas runs into a mysterious man (Yahya Abdul-Mateen II) who hands him a red pill, synonymous with the franchise's premise, and soon the footage of him with powers, seeing The Matrix for the fake reality that it is, plays out.
At the CinemaCon presentation Warner Bros also gave closer looks at their other big films like The Batman, starring Robert Pattinson; Denis Villeneuve's take on Dune, James Wan's Malignant, Clint Eastwood's neo-Western Cry Macho, The Sopranos prequel The Many Saints of Newark and King Richard, starring Will Smith.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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