vetrimaran upcoming movie

Trailer of Vetrimaaran's Viduthalai-1 is out: Watch here

The star cast of 'viduthalai' includes vijay sethupathi, soori, bhavani sre, prakash raj, gautham vasudev menon, rajeev menon and chethan.

CHENNAI: The trailer of Vetrimaaran's eagerly-awaited upcoming film, 'Viduthalai', was released on Wednesday. The film features Soori and Vijay Sethupathi in lead roles.

The caption read, “What we've been waiting for arrives right here ! 🔥

#ViduthalaPart1Trailer out now ➡️ bit.ly/ViduthalaiPart …”

The makers had already announced that the film is to be presented in two parts -- 'Viduthalai-1' and 'Viduthalai-2'. Both parts of the film are to be presented by actor, producer and politician Udhayanidhi Stalin's production house, Red Giant Movies.

Produced by RS Infotainment's Elred Kumar, the 'Viduthalai' franchise is being made on a whopping budget.

The star cast of 'Viduthalai' includes Vijay Sethupathi, Soori, Bhavani Sre, Prakash Raj, Gautham Vasudev Menon, Rajeev Menon and Chethan.

Maestro Isaignani is composing music for the film.

The film is set to hit the big screens on March 31.

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• Vetrimaaran's 'Viduthalai' trailer and audio launch to be held on March 8

Vetrimaaran's 'Viduthalai' trailer and audio launch to be held on March 8

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Vetrimaran's 'Viduthalai' to release in two parts

CHENNAI: Ace director Vetrimaran's eagerly-awaited upcoming film,'Viduthalai', featuring Soori in the lead and actor Vijay Sethupathi as 'Vaathiyaar', will release in two parts, its makers have now announced. Interestingly, both parts of the film -- 'Viduthalai' and 'Viduthalai-2' -- are to be presented by actor, producer and politician Udhayanidhi Stalin's production house, Red Giant Movies. The shooting of 'Viduthalai-1' has already been completed and post-production work is on in full swing. Only a few portions are left to wrap up the shooting of 'Viduthalai-2', which is currently happening in Sirumalai and Kodaikannal. Produced by RS Infotainment's Elred Kumar, the 'Viduthalai' franchise is being made on a whopping budget. The film's grandeur has been generating a strong buzz. Only recently, a train and Railway bridge set worth Rs 10 crore was erected for the film. The train compartments as well as the bridge were made using the same materials that engineers use to manufacture trains and build bridges. Earlier, the art department headed by Jackie had erected a huge village set in Sirumalai. The makers of 'Viduthalai' say that it is an intense story that needs proper storytelling to make sure it appeals to the audience. It is for this reason that they say they decided to break the story into two different parts. Currently, preparations for shooting a breath-taking action sequence between Vijay Sethupathi and Soori are going on in Kodaikanal. Peter Hein is choreographing this action sequence in which a group of proficient stuntmen from Bulgaria will be a part. The star cast of 'Viduthalai' includes Vijay Sethupathi, Soori, Bhavani Sre, Prakash Raj, Gautham Vasudev Menon, Rajeev Menon and Chethan. Maestro Isaignani is composing music for 'Viduthalai', which features cinematography by Velraj.

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Vetrimaaran's 'Viduthalai' trailer promises gripping tale: What we know

Vetrimaaran is one of the most acclaimed filmmakers in Kollywood and he is set to make a directorial comeback to films after a long time with Viduthalai. The upcoming film reportedly focuses on police brutality and its trailer was released recently, which has received a great response. Actors Vijay Sethupathi and Soori will be seen in the lead roles in the much-anticipated movie.

More about Vetrimaaran, upcoming film

The trailer of the upcoming film, in which Sethupathi and Soori will be pitted against each other, promises a gripping story. Notably, Vetrimaaran is helming a project after three years and also has another film, Vaadivaasal, in the pipeline. Known for his trademark storytelling skills, Vetrimaaran became a sensation with his 2015 film Visaaranai which was India's official entry for the 89th Academy Awards .

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Ranking Vetrimaaran Films — From Polladhavan to Viduthalai Part 1

Ranking Vetrimaaran’s films — excluding the short films he made — can feel like picking a winner from a competition of despair. And yet, because of the artistry, his films end up challenging his own filmography; building on his flaws, adopting newer visual languages to express older tropes of a violent world. 

Beginning with Polladhavan (2007), his films increasingly hold you in a brusque, violent, and breathless chokehold. Visaranai (2016), his third and most celebrated film, which was even sent to the Academy Awards as India’s nomination, is best described as a relentless marathon of brutality. Every time you think the film has let go, like steam released from a pressure cooker, the plot tightens into lashings and screams.

That none of this violence feels gratuitous is because of how normal violence feels in the world Vetrimaaran creates on screen. When characters die, they just do. When they are violated, they just are. Is this violence repetitive? Yes. But does it feel repetitive? No, because his films are not hinged on stylized violence. He doesn’t need to find innovative ways to stage it, since his films are about the contexts in which violence begins to feel like an everyday phenomenon — brutal but, like air, everywhere. It is these contexts that keep changing — from Madurai to Vada Chennai (North Chennai), Andhra Pradesh to the forested hills of Tamil Nadu — and the violence remains unsettlingly natural to all of them. 

6) Polladhavan (2007)

The opening credit of “non-linear editor”, the voiceover narration, and the opening shot yanking you into a flashback in Polladhavan — Vetrimaaran’s debut film is preoccupied with time flipping over itself, bending, contorting, staring at a bloody present and then tracing backwards to how we reached this bloodbath. The film follows the fallout after its happy-go-lucky protagonist Prabhu (Dhanush) loses his bike, and comes in contact with first an insecure underworld and then the inefficient blackhole of the police station.  There is a visual recklessness, almost a disenchantment with stillness in the film. When the image does become still, it is usually like a jerk — either a photograph or a forceful pausing of the frame. Here is a director who refuses to be bound by conventional framing and narrative. He will bung in two narrative voiceovers — what Preston Sturgess called “narratage”. He will place the camera between two vessels on the gas, the foreground of coffee being flipped from tumbler to tumbler, with Prabhu entering from behind. 

Polladhavan is dated in the sense that you see a director struggling with his style and the template that he wants to both tap into and wreck open — the grating dream songs of love and amorous celebration in a disco, for example. Vetrimaaran himself said in an interview with Film Companion , “From Polladhavan , I learnt I should never make a film like that.”

5) Aadukalam (2011) 

We begin in the present, but return to it only in the last half hour of this film. Karuppu (Dhanush) is a masterful cockfighter, but the Othello-like machinations of jealousy lead his mentor (played by V.I.S. Jayapalan) to exact violence by slowly chipping away at Karuppu’s reputation through gossip and cross-speak. And yet, as Karuppu’s fortunes balloon, his love for his mentor is never challenged. His mentor’s rejection of him never translates to Karuppu’s resentment. It is the kind of mythological devotion Ekalavya showered on Drona — one incapable of rancour. Blind love, as director Vetrimaaran notes in an interview with Film Companion , can be most dangerous.

The “centrepiece” — where Karuppu has to make his cock fight, not once, but thrice in the dust-flung competition,— is a grunting, unending tapestry of tension. It cemented Vetrimaaran as a director with a vision that drew from the well of Cine Madurai violence while cutting against it, stamping his distinct visual style, his trademark panting exposition in the beginning and his casual irreverence towards heroism. In the first “action scene” Karuppu is given, the camera is static, staring at the fight like a spectator, watching as Dhanush’s lithe frame tries to pummel the goons.

Aadukalam ends with Karuppu escaping the scene with his Anglo-Indian lover (Taapsee Pannu), not wanting to explain himself to those who have misunderstood  him or been manipulated into believing incorrect things about him. It’s a rare, mature narrative closing that shows a protagonist who is okay being thought of as wrong, even though he was wronged. If that means keeping the memory of his mentor — who orchestrated the manipulation — unsullied, so be it. 

4) Visaranai (2015)

Visaranai felt like an aesthetic sharp-turn for Vetrimaaran, showing us that as a director, he is capable of patient storytelling, linear storylines; neat, spare flashbacks, that unfold at the pace of life, without sizzling it up or slurring it down. The only throbbing background score in the film is that of ominous rain and crickets.

Perhaps, because the film is based on events that are true and shocking, Visaranai looks as though it is “captured” and not “shot” as a film (look at these violent words used to describe cinema). It does not even have that “centrepiece” moment of bloodshed that Vetrimaaran usually places carefully somewhere in the middle. It does not need it. The film, based on accounts of police custodial violence — first in Andhra Pradesh to poor Tamil Nadu migrants, then in Tamil Nadu to a white collar auditor — yanked from M. Chandrakumar’s novel Lock Up , is brimming with blood. The centrepiece, if anything, is that moment of quiet, of silence, of hope, that comes in little snatches before it is pulled away. 

The cinematic virtue of this film is its relentless violence which never feels gratuitous. What differentiates one from another? Here is violence treated as life — without drama, without emphasis. A rare restraint that nonetheless produces horror unlike in another film — by Vetrimaaran or anyone else. 

3) Vada Chennai (2018)

With Vada Chennai , Vetrimaaran returns to the titular North Chennai where he shot his debut film. This time, however, there is more blood, more history, and more politics, and a richer, denser world full of human foibles and fumbles. The detailing is more vivid — like prisoners snorting lizard tails to get high. The violence is more structural — it telescopes its attention on a neighbourhood over time, not a group of friends like in Visaranai .  

Like Aadukalam , Vada Chennai starts with bloodshed, which it returns to in the last half-hour. Unlike Aadukalam, this structure feels perfunctory, because the beginning is almost forgotten in the blitzkrieg of rat-a-tat action centred around Anbu (Dhanush), a sincere carrom player, who gets caught in the crossfire of a gang war that he further curdles and erupts. 

This is a hypnotic movie, moving across time, back and forth, sometimes a flashback within a flashback. If you pause the film, turn and ask what year the events are taking place, it takes a moment because of how much is churning in the story. The death of M.G. Ramachandran and Rajiv Gandhi are used as temporal walking sticks to help us wade through the film. The original cut for Vada Chennai was 5.5 hours long, and the reason we feel scenes end abruptly with moments often collapsing as they begin, is because of the unsparing edit to bring it down to 2.5 hours. The action, the relentless throw of context, dialogue, and exposition, keeps you afloat, as though you were being swept away in an furiously rushing river. 

What sets Vada Chennai apart is not just Anbu as an ambivalent hero who is swept into heroism by circumstances, but a hero who is unsure of who is right and who is wrong. He expresses this moral dilemma to his wife in a moving scene. There is a sense that if this film was narrated from another perspective, it might easily flip the moral labels we have slapped on characters. That a film allows its characters this latitude is a triumph of an expanded, exploded imagination — both moral and literary. 

2) Asuran (2019)

Both Vada Chennai and Asuran are, perhaps, the most cinematic of Vetrimaaran’s films — with a slow-motion pay-off that belongs to the masala template, lodged comfortably alongside the various Vetrimaaran-isms. Both insert their intermission after a rousing action sequence that disarms you with its style and emotional punch. However, while Vada Chennai is impatient in its storytelling — by narrative design and editorial desperation — Asuran digs deeper. 

The first shot of the film, of a moon among milky clouds, crumples when feet are placed over it — we realise that we were seeing a reflection of the moon over still water, which is now being trampled over by escaping feet, that of Sivasaami (Dhanush) and his son Chidambaram (Ken Karunas). Chidambaram has just hacked the man who murdered his elder brother — an act of vengeance that dislocates his family, who are now fugitives. 

Asuran perfects a lot of Vetrimaaran’s pursuits — the mass film without the mass conventions. There is no hero entry scene. There is, instead, the intermission block. There is no hip dangling love. There is, instead, trauma and affection. Humour does not exist, distilled in the form of a separate character, like a court jester. It is baked into the exchanges. There is no beauty, no polish. There is a harsh abruptness with which scenes transition. And yet, Asuran has packed in it the most potent scenes of grief and redemptive violence. It is Vetrimaaran allowing his films to char your heart, not just your senses. The second half gives the origin for Sivasaami’s docile nature, one that he has arrived at after a youth of bloodshed that left him orphaned and without love. This mirroring of the two halves is another beautiful Vetrimaaran-ism — from the slippers, to the heroism, to the tragedy that culminates in an escape. It is easy to dismiss this film as templated, but there is a reason templates have survived the onslaught of genre, taste, and time shifts. That it is predictable does not take away from what an artist can do with and within that predictability. Asuran is Vetrimaaran’s most emotionally staining — not draining, but staining — film; its violence lingering as hurt, not horror. 

1) Viduthalai Part 1 (2023)

In one sense, Viduthalai is the culminating artistic collaboration between Vetrimaaran and cinematographer Velraj, who has lensed all of Vetrimaaran’s films except Visaranai . The opening shot of around 10 minutes takes us, in one sweeping, single take, through the debris of a train bombing. The sheer audacity of the scene, the lubricated ease with which the camera slides, both vertically and horizontally, sets the stage for Kumeresan (Soori), a kind-hearted police officer who has been sent to the forested hills as part of a police force that is trying to weed out an extremist group. It invokes awe while depicting horror. The dense prologue, the unfussy heroism of Vetrimaaran are both here. The politics is just as long winded and stiff — like how Vada Chennai questioned development, here, too, the story hinges on how the state uses development as a cover for profiteering; the police, here, too, are brutal beasts. Love comes as a reprieve — both to the character and the narrative. 

But what marks Viduthalai apart is how it makes violence seem so routine, Vetrimaaran isn’t even interested in sharpening it. There is a blunt relentlessness to it. It is not that the director can’t show violence that whips our moral sense of the world. It’s just impossible to fixate and linger on violence the way he did in the previous films. In Visaranai what was happening to a group of friends, in Asuran what was happening to a family, is, in Viduthalai happening to a whole movement of people. Vetrimaaran employs a disenchanted cutting away from these moments before their full impact is even felt, for the impact is not in its festering but in its unrelentingness.

If you notice closely, these rankings are in the order of Vetrimaaran’s filmography, suggesting that, at least artistically, he seems to be streamlining ahead, a swift, sure motion away from where he first began. 

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Vetrimaaran confirms working with Jr NTR for upcoming film: ‘Won’t collaborate with him for star value’. Watch

Vetrimaaran will collaborate with jr ntr for an upcoming film. he spoke in hyderabad during the promotion of the telugu dubbed version of viduthalai: part 1..

Filmmaker Vetrimaaran , who has so far collaborated with Dhanush on multiple occasions, has confirmed that he will join hands with Jr NTR for a yet-untitled upcoming project. He also said that he won’t collaborate with Jr NTR for the star value but for the suitable content that would require him. (Also Read | Jr NTR's team clarifies he is not working with Dhanush in Vetrimaaran’s film; calls such reports 'absolutely false' )

Vetrimaaran, who was in Hyderabad on Tuesday to promote the Telugu dubbed version release of his latest Tamil film Viduthalai: Part 1, interacted with the media. As part of the interaction, he was asked about the rumours about working with Jr NTR .

“Collaboration will make sense to me and I will not collaborate just for the star value or the combination value. I will only collaborate for a content that will demand a star like him. So that much I can say,” Vetrimaaran said.

Several fans reacted to the video and shared their excitement over the collaboration. A person wrote, “This will be an epic collaboration. Two powerhouses coming together (sic).” Another Fan said, “Can’t wait for this project to take off (sic).”

As part of the same interaction, Vetrimaaran confirmed that he met and pitched a story idea to Jr NTR. He also added that their project will take time to take off as both of them are currently occupied with their respective assignments. Last year, reports emerged for the first time that Vetrimaaran had met Jr NTR to pitch a story idea.

Jr NTR is currently busy with the shoot of his next yet-untitled Telugu film with director Koratala Siva. Dubbed NTR 30, the project marks the Telugu debut of Janhvi Kapoor. The film will release later this year. NTR 30 was officially launched with a pooja ceremony last month.

Filmmaker SS Rajamouli, who presided over as the special guest for the program, clapped the first shot and commenced the shooting. Vetrimaaran, on the other hand, is expected to commence work on his next film Vaadivasal, which will star Suriya.

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Every Vetrimaaran Movie Ranked and Where to Watch Them

Published on.

Shaurya Singh Thapa

Official JustWatch writer

Known for his gritty crime dramas, underdog heroes, and numerous collaborations with actor Dhanush , Vetrimaaran has established himself as one of Tamil film industry’s leading directors.

If you wish to know more about the Asuran and Vidhuthalai director’s filmography, we have got you covered with a complete streaming guide that leads you to all of Vetrimaaran’s movies and information you need on where to stream them online.

Which Vetrimaaran movies should I watch first? 

The best way to watch Vetrimaaran’s movies is in the same order as their release date, as this sequence would show how the director has only improved in his craft with every passing movie. Vetrimaaran made his directorial debut in 2007 with the action thriller Polladhavan . Dhanush played the lead character, a man whose fate changes after he buys a bike and later gets it stolen. Opening to rave reviews for Dhanush’s acting and Vetrimaaran’s directing, the movie spawned numerous remakes in other languages and popularised the Bajaj Pulsar (the bike featured in the movie) among Tamil youths.

The director and actor joined forces again for the drama Aadukalam . The 2011 hit found Dhanush’s protagonist embroiled in an unattainable romance and a rooster-fighting business. The movie earned Vetrimaaran a National Award for Best Director and Best Screenplay.

While Vetrimaaran’s first two movies addressed social themes like an economic class divide, his political themes got more evident in his third film: a police thriller titled Visaranai (also released as Interrogation). The gruelling social drama revolves around the fates of two men who are forced to confess to a crime after they are locked up by the cops. The film won a National Award for Best Tamil Film and also opened much debate and discourse over the ethics of the police force in Tamil Nadu.

Visaranai’s success opened the avenues for more ambitious projects like the period gangster epic Vada Chennai , yet again starring regular collaborator Dhanush. The movie charts an underdog’s journey between rival criminal factions in a fishing community in ‘70s-era South Chennai. Vada Chennai ended on a nail biting cliffhanger, teasing the possibility of a sequel that fans still await.

With Dhanush already starring in several anti-caste dramas, Vetrimaaran cast him again in Asuran. Addressing the oppression faced by marginalised castes, Asuran starred Dhanush as a hot-headed lower-caste youth who kills an oppressive upper-caste landlord. The ensuing chaos made for a violent, powerful, and relevant watch. As is the case with many Vetrimaaran films, Asuran also earned the National Award for Best Tamil Film. 

Why is Vidhuthalai Part 1 Vetrimaaran’s best movie to watch? 

Intending to direct a two-part saga next, Vetrimaaran directed Vidhuthalai Part 1 . Set in the 1980s and inspired by real-life politics of the era, Viduthalai explores the conflict between the police and a separatist group. However, neither side is good or bad as Vetrimaaran’s story explores the morally grey areas of the policemen and their atrocities as well. Boasting impressive performances by Vijay Sethupathi and Soori, Vidhuthalai is a gripping political thriller.

Where can I watch the best Vetrimaaran movies online? 

Below you can find the latest streaming information for every Vetrimaaran movie. This includes every offer for viewers in India today.

Viduthalai: Part I

Kumaresan, a police constable, gets recruited for an operation implanted to capture Perumal Vaathiyar, who leads a separatist group dedicated to fighting against the authorities for committing atrocities against innocent village women in the name of police interrogations.

Vada Chennai

A young carrom player in North Chennai becomes a reluctant participant in a war between two feuding gangsters.

The teenage son of a farmer from an underprivileged caste kills a rich, upper caste landlord. How the pacifist farmer saves his hot-blooded son is the rest of the story.

Pandi and his friends, immigrant workers in Andhra Pradesh, are picked up by cops for a crime they never committed. And thus begins their nightmare, where they become pawns in a vicious game where the voiceless are strangled by those with power.

Pettaikaaran is famous in his town for an impeccable track record of successes in rooster fights. When one of his aides, Karuppu, goes against his word in a fight, it leads to an enmity between them.

Polladhavan

Prabhu is dejected when he learns that his bike has been stolen. He decides to find the people who stole the bike, but lands in trouble when he realises that his bike has been used to transport drugs.

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Hugh Grant Rewrote His Bridget Jones Role for Upcoming 4th Movie: 'I Wanted to Help'

The actor will make his return as Daniel Cleaver in 'Bridget Jones: Mad About the Boy,' which is slated to premiere in February 2025

Leon Bennett/Getty; Alamy

Hugh Grant could get a screenwriting credit for the next Bridget Jones movie .

The Love, Actually actor, 62, told Vanity Fair in an interview published on Sept. 11 that he altered the script for the upcoming film to make sure his character, Daniel Cleaver, was part of it.

Although he starred in the first and second films ( Bridget Jones's Diary and Bridget Jones: The Edge of Reason ), Bridget's boss Cleaver didn't make sense in the plot of Bridget's unexpected pregnancy.

“I really couldn’t fit my character in — he just didn’t belong, so I stepped aside,” he said of the 2016 movie Bridget Jones's Baby .

With 2025's Bridget Jones: Mad About the Boy , Grant became part of the plot. The upcoming fourth movie is based on the third book of the Bridget Jones series by Helen Fielding , which moved Grant greatly. However, something seemed off to him, he told Vanity Fair .

“I loved the script — it made me cry, and I wanted to help with this one,” Grant continued. “But really there’s no part for Daniel Cleaver in it at all. They wanted him in it, and in the end, they’d done something I wasn’t crazy about.”

Grant then rolled up his sleeves and "wrote some scenes" for Cleaver which ultimately made the final cut and included his character.

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer​​, from celebrity news to compelling human interest stories. 

“It’s absolutely the best [ Bridget Jones  book], and I think it’s very funny and very, very moving. I’m not in a lot — I did a week’s work, that’s it. But when you see the film, you’ll be very moved,” he said.

The plot in the upcoming installment is expected to focus on Bridget as she navigates life as a single mother of two, following the death of her husband, Mark Darcy. She also will consider reentering the dating pool.

Returning with Grant for the fourth movie is Renée Zellweger as Bridget, along with Emma Thompson (who played Bridget's doctor in the third installment). Meanwhile, Chiwetel Ejiofor , Isla Fisher , Josette Simon , Nico Parker , Leila Farzad and Leo Woodall are joining the cast.

Iona Wolff/BAFTA via Getty

Grant previously teased the upcoming movie , telling PEOPLE what fans can expect.

"It's partly based on Helen Fielding's experiences of bringing up two children by herself after her husband died," he said in April. "And so Bridget is bringing up two kids and wondering whether she should ever go back to dating,"

He added that the script is "very moving as well as funny."

Bridget Jones: Mad About the Boy is slated to premiere in theaters and on Peacock on Feb. 14, 2025.

Related Articles

Ranking All Vetrimaran Movies

1. Vada Chennai

2. Visaaranai

3. Aadukalam

5. Viduthalai: Part 1

6. Polladhavan

More to explore, recently viewed.

Exclusive Long Gone Heroes Clip Previews Action Thriller Starring Josh Hutcherson

By Maggie Dela Paz

ComingSoon is excited to debut an exclusive Long Gone Heroes clip from Lionsgate’s newest action thriller, which will be led by Frank Grillo and Josh Hutcherson . The film is scheduled to arrive in theaters and on digital platforms starting on September 20, 2024.

“In the film, Gunner (Grillo), a special forces soldier who has witnessed the darkest side of country and combat, is forced back into the field of battle to save his niece, who is being held in South America,” reads the synopsis. “As the fight intensifies, Gunner and his team discover that her disappearance is part of a corrupt private operation that hits way too close to home.”

Check out the exclusive Long Gone Heroes clip below ( watch more trailers ):

What happens in the Long Gone Heroes clip?

The video features Hutcherson’s David, Beau Knapp’s West, and Eden Brolin’s Julia as they try to evade multiple enemies’ gunshots. The film is directed by John Swab, who co-wrote the screenplay with Santiago Manes Moreno. The ensemble cast also includes Melissa Leo as Olivia, Andy Garcia as Roman, Wendy Moniz as Mace Spencer, Mekhi Phifer as Moreao, Juan Pablo Raba as Guapo, George Carroll as Matty, Sam Quartin as Margo, and more.

Long Gone Heroes is executive produced by Barry Brooker, James T. Bruce IV, Angel Cassani, Francisco J. Rivera Fernández, Phillip B. Goldfine, Marc Jacobson, Clara Lope, Vasilena Georgieva Molla, Oliver Morton, Jorge Rojas Buscaglia, Jared Safier, and Carlos Velazquez. Producers are Moreno, Noli Molla, Scott Putman, Charlie Toro, and Cristina Villar.

Maggie Dela Paz has been writing about the movie and TV industry for more than four years now. Besides being a fan of coming-of-age films and shows, she also enjoys watching K-Dramas and listening to her favorite K-Pop groups. Her current TV obsessions right now are FX’s The Bear and the popular anime My Hero Academia.

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