Premiere - Ballerina : The London Premiere Dances into John Wick Lore with Elegance, Firepower, and Emotional Depth London, Leicester Square nearby

By Mulder, Leicester Square, 22 may 2025

Leicester Square turned into a crucible of shadows and stardust on May 22, 2025, as Ballerina—the long-anticipated spin-off from the John Wick universe—finally took center stage in London for its global premiere. The Cineworld theatre, nestled in the heart of the capital’s iconic cinema district, became a literal stage for a different kind of ballet—one composed not of arabesques and pas de deux, but of pain, revenge, and grit. As Ana de Armas, Keanu Reeves, Ian McShane, and Norman Reedus walked the carpet under a dusk-lit sky filled with camera flashes and fan cheers, the crowd sensed it: this was more than just another movie night. It was the unveiling of a new myth, poised between tradition and transformation, where the world of Wick spins further outward into its own rich, emotionally charged choreography.

There was a haunting symmetry to it all. A movie that started as a footnote in John Wick: Chapter 3 – Parabellum—with Unity Phelan’s silent, bone-chilling ballet performance under the watchful eye of Anjelica Huston’s Director—was now stepping fully into the light. And it wasn’t just stepping; it was pirouetting in blood-soaked elegance. Screenwriter Shay Hatten, inspired by a passing glimpse of a ballerina in the John Wick: Chapter 2 trailer, penned a spec script that made its way to the Black List by the end of 2017. That seed, germinated in the imaginations of fans and creators alike, has now bloomed into a 125-minute operatic revenge odyssey titled Ballerina, directed by Len Wiseman with Chad Stahelski’s brutal fingerprints all over the action choreography. The London premiere wasn’t just a glamorous affair—it was a coronation of a film forged in curiosity, elevated by tragedy, and polished through years of relentless creative reworking.

It’s no secret among insiders that Ballerina had a rocky path behind the scenes. While Wiseman led principal photography with his signature sleek lensing—honed in the Underworld franchise—Stahelski quietly returned for months of reshoots, bringing his unmatched experience in tactical combat cinematography to recalibrate the film’s tone. Far from a creative clash, this unusual handoff only sharpened the final product. It allowed for a fusion of style and substance that echoes Wick’s visual DNA while simultaneously pushing it into a more introspective, mournful direction. This kind of collaboration is rare in action filmmaking, where egos often clash and visions splinter. But in Ballerina, the change in hands appears to have created a mosaic of intent—one that is tighter, more emotionally resonant, and clearer in its narrative aim. A telling anecdote? Norman Reedus was reportedly flown from Japan to Budapest on short notice to shoot additional scenes—a testament to the urgency and scale this film demanded.

And then there’s Ana de Armas. Her red carpet presence in London wasn’t just glamorous—it was symbolic. Cast after her breakout combat performance in No Time to Die, de Armas embodies Eve Macarro with a level of intensity that feels sculpted, not performed. Her role isn’t an echo of John Wick—it’s a refracted evolution. Where Wick is driven by grief sublimated into relentless vengeance, Eve is submerged in something colder, murkier. Her father’s murder and the betrayal laced within the Ruska Roma family structure create a foundation not of rage but of haunted resolve. This tonal shift is critical. It moves the John Wick universe into new emotional terrain, one steeped in psychological weight and generational trauma. Onscreen, de Armas carries that weight like a dancer burdened by invisible chains, performing with a mixture of icy precision and aching vulnerability that already has critics whispering about awards potential in a genre usually dismissed by the Academy.

That potential is amplified by a supporting cast that reads like an all-star pantheon of genre excellence. Keanu Reeves’ return—though limited—is pivotal, not as a narrative anchor, but as a symbolic thread. Ian McShane once again drips charm and menace as Winston, while Anjelica Huston remains the spine of the Ruska Roma’s brutal elegance. The late Lance Reddick appears in his final performance as Charon, and his presence reportedly casts a melancholic glow over the film—one that felt palpably emotional as fans in Leicester Square paused for moments of silence and remembrance. The additions of Gabriel Byrne and Catalina Sandino Moreno add even more mystery, and Reedus—ever the wildcard—is already fueling fan theories with his enigmatic appearance. Is he friend, foe, or something more elemental in the shifting underworld landscape?

Musically, Ballerina reaches deep into the franchise’s sonic roots, with Tyler Bates and Joel J. Richard returning to infuse the film’s score with the same pulse that defined Wick’s earlier rampages. But this time, there’s a more elegiac tone. The lead single “Hand That Feeds” by Halsey and Amy Lee isn’t just a soundtrack banger—it’s a dirge masquerading as a war cry. Played over the end credits, it reportedly brought parts of the premiere audience to an emotional hush, proving once again that Ballerina isn’t interested in being merely loud—it wants to be felt. The music, the choreography, the cinematography by Romain Lacourbas—all converge into a sensory ballet that trades bombast for elegance, even as it unleashes violence as poetry.

What makes Ballerina uniquely compelling is its refusal to feel like a cash-grab or generic franchise offshoot. While spin-offs often lean into nostalgia or fan service, this film offers a tonal recalibration. It’s darker, more intimate, and riskier. It asks different questions. What does revenge mean when it’s born in silence and discipline rather than trauma? Can a woman raised to kill find agency beyond vengeance? These questions are not merely rhetorical—they shape the arc of Eve Macarro in a way that sets her apart from Wick. And with Lionsgate already developing a sequel under producer Erica Lee, it’s clear that Eve isn’t just a one-film wonder. She’s being groomed as the future of the franchise, and perhaps the harbinger of a new, more nuanced chapter in action cinema.

As the stars exited the London premiere and fans lingered for autographs and selfies, one thing became clear: Ballerina isn’t simply arriving into the John Wick world—it’s transforming it. With a June 4 release in France and a June 6 release in the U.S., this film is primed to extend the franchise's legacy while deepening its thematic scope. And if London’s premiere was any indication, audiences aren’t just ready—they’re ravenous for it. In the grand theatre of gun-fu and grief, Ballerina doesn’t just perform. It ascends.

You can discover the official red carpet interviews videos just below :

itw Len Wiseman

itw Chad Stahelski

itw Ana De Armas

itw Keanu Reeves

itw Ian McShane

itw Norman Reedus

itw Sharon Duncan Brewster

itw Robert Maaser

itw Shay Hatten

itw Catalina Sandino Moreno

itw Ava McCarthy and Victoria Comte

itw Basil Iwanyk

You can discover the official photos for a limited period in our Flickr page

Synopsis :
Set during John Wick: Parabellum, Ballerina follows the relentless revenge of Eve Macarro, the new assassin of the Ruska Roma organization.

Ballerina
Directed by Len Wiseman
Written by Shay Hatten
Based on Characters by Derek Kolstad
Produced by Basil Iwanyk, Erica Lee, Chad Stahelski
Starring Ana de Armas, Anjelica Huston, Gabriel Byrne, Lance Reddick, Norman Reedus, Ian McShane, Keanu Reeves
Cinematography : Romain Lacourbas
Edited by Jason Ballantine
Music by Tyler Bates, Joel J. Richard
Production companies : Summit Entertainment, Thunder Road Films, 87North Productions
Distributed by Lionsgate
Release date : June 4, 2025 (France), June 6, 2025 (United States)
Running time : 125 minutes