Premiere - The Running Man : Edgar Wright Reclaims Stephen King’s Dystopia with Fury and Precision

By Mulder, Paris, Pathé Beaugrenelle, Dolby theatre, 02 november 2025

On November 2, 2025, the Pathé Beaugrenelle cinema in Paris hosted a special screening of The Running Man organized by Allociné Club. The event drew a full house and marked one of the few opportunities for audiences in France to discover the new film ahead of its official release. The screening was made all the more exceptional by the presence of Edgar Wright, who personally introduced the film before taking part in a lively Q&A session afterward. From the moment he appeared on stage, the atmosphere in the room was one of excitement and curiosity. Wright briefly retraced the decade-long development of the project, reflecting on the creative path that led him from early conception to production, and his enduring fascination with Stephen King’s 1982 novel The Running Man, published under the pseudonym Richard Bachman. The audience listened attentively as the filmmaker described his experience adapting such a politically charged and thematically rich work, noting how the book’s ideas about media, control, and spectacle remain sharply relevant today.

The project was first announced in 2021, immediately drawing attention for its ambition to return to the tone and spirit of Stephen King’s novel rather than reimagine the 1987 version starring Arnold Schwarzenegger. Co-written by Michael Bacall and Edgar Wright, the film marks a renewed collaboration between the two screenwriters, whose previous work together on Scott Pilgrim vs. the World left a distinct creative imprint on contemporary pop culture. Production began in November 2024 and continued through March 2025, with major portions filmed in London and key sequences staged inside Wembley Stadium — one of the largest and most recognizable filming locations used by Wright to date. The film was produced by Simon Kinberg, Audrey Chon, and Nira Park, bringing together the combined forces of Genre Films and Complete Fiction under the distribution of Paramount Pictures. The cast assembled for this adaptation reflects the film’s scale and ambition, featuring Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Sean Hayes, Jayme Lawson, Colman Domingo, and Josh Brolin. Each of these actors contributes to the layered universe of The Running Man, helping shape a world where personal struggle and systemic forces collide.

During the Paris presentation, Edgar Wright discussed the balance between fidelity to the source material and the creative freedom required to reinterpret it for a new generation. He spoke of the story’s continued relevance, especially in the context of a society increasingly shaped by technology, media, and public spectacle. One anecdote shared during the introduction involved Glen Powell, who reportedly reached out to Arnold Schwarzenegger before accepting the role of Ben Richards. This gesture, according to Wright, symbolized the film’s respectful acknowledgment of its cinematic heritage while seeking its own voice. The character of Richards remains central to both versions — a man compelled to enter a televised competition where contestants fight for survival in front of millions of viewers. The producer of the show, Dan Killian, orchestrates the deadly spectacle, turning desperation into entertainment. These themes, present in Stephen King’s original work, continue to resonate in today’s global culture, where entertainment often mirrors reality in disquieting ways.

Visually, The Running Man promises to be a striking cinematic experience, consistent with Edgar Wright’s established style. The cinematography is by Chung Chung-hoon, whose work on Oldboy and Decision to Leave made him one of the most distinctive visual artists of modern cinema. Editing is handled by Paul Machliss, a frequent Wright collaborator responsible for shaping the rhythm and dynamism of Baby Driver and Last Night in Soho. The film’s sound design and use of music were also noted by attendees during the Q&A, as Wright described how every musical cue was chosen to reflect both the energy and the subtext of the scenes. Earlier promotional material, including the official trailer released on July 1, featured a remix of “Underdog” by Sly and the Family Stone, setting a tone that aligns with the film’s thematic exploration of defiance and rebellion. These artistic choices, Wright explained, were made to ensure that the adaptation would not merely restate the novel’s ideas but interpret them through the lens of contemporary cultural anxieties.

The discussion following the screening offered further insight into Edgar Wright’s process. He spoke candidly about his decision to situate The Running Man within a near-future world that, while fictional, reflects recognizable patterns of media consumption and audience behavior. His comments touched upon the enduring relevance of Stephen King’s dystopian vision — particularly its portrayal of entertainment as a form of control and distraction. The Paris audience appeared deeply engaged, asking questions about adaptation choices, production challenges, and the film’s relationship to the broader conversation on technology and spectacle. Wright’s responses were generous and occasionally humorous, blending practical filmmaking anecdotes with reflections on why stories like The Running Man continue to capture imaginations decades after their creation.

This exclusive screening at Pathé Beaugrenelle reinforced Paris’s role as a vital hub for international film culture, where filmmakers and audiences meet in direct dialogue. As The Running Man approaches its theatrical release — November 14, 2025, in the United States and November 19, 2025, in France — anticipation continues to build. The event concluded with sustained applause for Edgar Wright, whose presence transformed the screening into an intimate exchange about the evolution of storytelling, the role of cinema in an era of mass communication, and the enduring influence of Stephen King’s ideas. More than a promotional moment, the evening served as a reminder of the collaborative energy that defines modern filmmaking — a convergence of creative voices, industry support, and audience curiosity that gives cinema its pulse.

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Synopsis :
In the near future, The Running Man is the number one show on television: a ruthless survival game where contestants, known as Runners, must escape professional killers for 30 days, under the watchful eye of a captivated audience. Each day that passes increases the prize money—and provides an ever-more intense adrenaline rush. Ben Richards, a desperate worker willing to do anything to save his seriously ill daughter, accepts the unthinkable: to take part in this deadly show, pushed by Dan Killian, its charismatic and cruel producer. But no one could have predicted that Ben, with his will to live, his instincts, and his determination, would become a true hero of the people... and a threat to the entire system. As ratings skyrocket, the danger escalates. Ben will have to face much more than the Hunters: he will have to face an entire country addicted to seeing him fall.

The Running Man
Directed by Edgar Wright
Written by Michael Bacall, Edgar Wright
Based on The Running Man by Stephen King (as Richard Bachman)
Produced by Edgar Wright, Nira Park, Simon Kinberg
Starring Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Sean Hayes, Jayme Lawson, Colman Domingo, Josh Brolin
Cinematography : Chung Chung-hoon
Edited by Paul Machliss 
Production companies : Genre Films, Complete Fiction
Distributed by Paramount Pictures
Release date : November 14, 2025 (United States), November 19, 2025 (France)

Photos and video : Boris Colletier / Mulderville