Five films we're putting on the front page in April

April's slate skews darker than March, with two streaming debuts that have been gathering dust on festival circuits. Worth your couch time.

The shortlist

All five are live now in the Cinema rail of the app. Premium and Annual subscribers get them in 4K; Starter gets 1080p plus DTS audio.

Dune: Part Three

Villeneuve closes out the trilogy with the longest cut of the three at three hours and seventeen minutes. The streaming master is the IMAX-aspect version that screened in 70mm — the framing shifts between 1.43:1 and 2.39:1 depending on scene, which only makes sense on a TV that respects the metadata. If your set crops it to 16:9 by default, switch to Movie picture mode before you start.

Audio is Dolby Atmos with a separate stereo Hans Zimmer score track for the curious — useful if you wanted to hear how much of the world-sound is built around bass beneath the dialogue. Don't watch this one on a phone.

The Last Frontier

HBO's late-March drop, an eight-part limited series, lands on PREMRED with all eight episodes available from day one in the EU. Set in a post-pipeline Alaska town, it sits closer to True Detective season one than to anything else HBO is currently shipping. Jason Clarke is the surprise — quiet first three episodes, then a thirty-minute monologue in episode four that will be discussed for a year.

This is the only title in the list with regional restrictions: outside the EU it's available in 1080p only, due to the licence we hold. If you're travelling, the catch-up window resolves to your billing country, not your IP.

Killers of the Flower Moon — director's cut

Scorsese's 2023 release returns with eleven additional minutes — most of them in the third act, restoring a courtroom scene that the original cut compressed. If you saw the theatrical, this is worth a re-watch even if only the new sequence interests you; the pacing of the final hour shifts noticeably with the additions back in place.

Both DTS-HD and Dolby Atmos audio tracks are included. The DTS encode preserves the original cinema mix; the Atmos is a height-channel remix done with Scorsese's approval. We default to DTS for purists; switch to Atmos in the long-press menu if you have ceiling speakers.

The Brutalist — Cannes restoration

This is the one cinephiles have been emailing about. The 70mm transfer scanned for the Cannes anniversary is now available in 4K HDR10 — grain structure preserved, no DNR, exhibitor-grade. Adrien Brody's lead performance carries the three-and-a-half-hour runtime; the 15-minute intermission is preserved in the streaming cut, with a chapter marker so you can pause it cleanly.

Civil War (extended)

Garland's 2024 film returns in a 22-minute-longer cut with a separate director-and-DP commentary track. The added scenes are mostly in the final act, around the Washington sequence — they don't reshape the film's politics, but they do redistribute the tension. If you came out of the theatrical cut frustrated by the rushed ending, this is the version that addresses it.

The commentary track sits in the audio menu as English (commentary). It plays under the dialogue mix at a lower level — the sound team did this on purpose so you don't lose the score entirely. Watch the film clean first; the commentary is best on a second pass.

What to start with

If you have one evening: The Last Frontier, episode one. It's the cleanest hook on the list and you'll know within twelve minutes whether you want the rest of the series. If you have a Saturday night and a good speaker setup: Dune: Part Three. If you've already seen everything else, the Brutalist 70mm restoration is the one cinephile pick that earns the runtime.

Audio and subtitle availability

All five are mastered with English, Spanish, French, German, and Italian audio dubs where the rights allow — Dune and Civil War are the most complete. Subtitles run wider: English, Spanish, French, German, Italian, Portuguese, Polish, Turkish, Arabic, and traditional Chinese on every title in the list. Subtitle styling can be tuned in the app settings — size, background opacity, font choice — and the preference persists across films.

What's coming in May

We don't pre-announce slates because licences shift, but two of the festival winners from earlier this year are likely candidates by mid-May. The newsletter at the bottom of this page is the fastest way to hear about additions on the day they're flipped live.