The trials, tribulations and triumphs captured on 16,300 minutes of footage filmed throughout the 55-day journey of rock star Athiwara “Toon Bodyslam” Khongmalai as he ran from Betong, Yala in Thailand’s deep south to northernmost district of Mae Sai, Chiang Rai, are being told in the new documentary “2215 Chuea Baa Kla Kao” coming out on September 6.

The “2215” in the title, which translates as “2215, Belief, Crazy, Brave and Take a Step”, refers to the 2,215-kilometre journey that Toon undertook at the end of last year – slightly more than his planned run of 2,191km.

That increase was down to his stops in different place along the way, as he went to local schools, visited the elderly waiting to donate money for the project and to government offices. In the end, Toon’s overwhelmingly successful crosscountry run raised more than Bt1.2 billion for 11 public hospitals across the country.

And in a nice twist, duty free giant King Power is expressing its thanks to the rocker by covering the admission price of 720,000 tickets so that Thais can watch the documentary for free between September 6 and 16. It is estimated that this will cost King Power some Bt144 million over and above its already generous donation of Bt100 million during the charity run.

“This is how I wanted to pay back the people who supported me during the run. They gave that support for free and now it’s time for me to give back,” says Toon.

Many Thais, of course, watched the live broadcast of the 55-day run and director Nottapon Boonprakob is quick to explain that the documentary contains plenty of behind-the-scenes footage that adds to the power of the story.

“The live broadcast really only shows Toon and his followers running. Through this film, we want to portray what drove him to undertake the mission, how he was able to succeed and what pushed him to complete it despite the many obstacles and injuries,” says the director.

With so much footage to choose from, Nottapon has carefully selected the scenes that tell the real story of the marathon journey.

“I don’t want to over praise him as a hero but portray him as an ordinary man with a passion to do something for others and an individual who can be weak and feel pain like anybody else. The documentary shows the unseen parts of the journey and gives us a better understanding of this man,” says the director.

Nottapon adds that this is not a conventional documentary with interviews and flashbacks. Yes, it does contain a few interviews but mainly relies on events and situations to reveal Toon Bodyslam.

The idea for the documentary was initiated by Toon himself, when he approached GDH a while back to ask whether they could do anything with the footage of an earlier run from Bangkok to Bang Saphan in Prachuap Khiri Khan. He later amended his request, telling the studio he would be running from Betong to Mae Sai.

Producer Wanruedee Pongsittisak thought it was a crazy idea but was nonetheless happy to support the project.

“I joined Toon’s first charity run  Bangkok to Bang Saphan – and was overwhelmed by the positive energy along the route, so of course I was happy to support him,” Wanruedee says.

GDH handed the project to Nottapon, who had previously worked with its former incarnation of GTH as a scriptwriter for the movies directed by his elder brother Chayanop, namely “Suckseed” and “May Who?” He has also directed TV commercials and music videos and took the Social Documentary Film course at the School of Visual Arts in New York City.

After a recent screening of the documentary, Toon remained silent. The nervous production team put his quietness down to the fact that he probably didn’t like the film.

“It is not that I don’t like it,” he said later. “The point is I have my own picture and the movie collects valuable information along the run, by not focusing on me. But after they explained why they opted to present this way, I don’t have anything against it.

“The story should create a force or inspire people to do something that benefits them personally or the wider society such as starting jogging or taking care of their health. That was my intention and I hope the documentary will achieve that aim,” says Toon.

The director opted to keep the crew small, selected four people to man the two cameras and two more for editing.

The two camera teams followed the run from the beginning, shooting on two motorcycles or from the top of a car and capturing interesting moments along the way including the cheering crowds along the road. They also followed Toon in the car he used to rest. At the end of each day, the two editors would go through the footage and write the daily record.

“Shooting this movie was tough and exhausting work as we had to carry the camera all day long. The camera broke and we had an accident but how could we complain when we saw him running even though he was tired?” says the director.

The trailer shows Toon crying out in pain when the doctor treats him for an injury – and there were several during the run – and as he relaxes in the private area, scenes that were not included in the live broadcast.

Like many people who witnessed the run, the director admits there were many times when he was sure Toon couldn’t possibly finish his mission.

“His fitness preparation wasn’t really designed for a crosscountry run because he continued to work hard, didn’t get enough rest and didn’t even manage his diet, all of which are essentials to prepare the body for a tough mission,” he says.

“To me, the film is a good opportunity to show Thai audiences what a documentary really is. Most think it’s like a TV documentary showing wildlife or nature,” he says.

“I’ve been in the entertainment industry for 17 years and I’ve never had a chance to be in a movie like this. I received many approaches to star in films but have always turned them down because I’m not good at acting. However it’s inevitable that I have to be ‘Phra Ake’ in this documentary so I hope that I will be ‘Phra Ake 1000 Laan’,” says Toon, referring to the name given to the male protagonist in a movie that earns Bt1 billion, like Mario Maurer in the top grossing film of all time, “Pee Mak Phra Khanong”.

The Bt1 billion will not line his pockets but is the money he wants to donate to Siriraj Hosptial for the completion of the 84th Anniversary Navamindrabopitr Building.

The building construction is almost complete but the hospital needs another Bt1 billion to purchase medical equipment. The 84th Anniversary Navamindrabopitr Building is the last name granted by the late King Bhumibol Adulyadej and it will be used to care for underprivileged patients. Screenings on the road

n “2215 Chuea Baa Kla Kao” comes out on September 6. Free screenings will be available from September 6-16 nationwide at Major Cineplex and SF Cinema and limited to one show a day during weekdays and two screenings a day on weekend.

Screenings on the Road

– Toon will also take the movie on a road show nationwide from September to February and hold activities like short charity runs along with screenings.

– Donations can be made through different channels: at the donation box, using the QR code via mobile banking, by SMS or through SCB Bank account 0163045567. For more information, visit Facebook.com/kaokonlakao/.

“Chilling Adventures of Sabrina” draws on the origin and adventures of the popular ’90s TV series “Sabrina the Teenage Witch” in a dark coming-of-age story that traffics in horror, the occult and, of course, witchcraft.

Tonally in the vein of “Rosemary’s Baby” and “The Exorcist”, this adaptation finds Sabrina wrestling to reconcile her dual nature — half-witch, half-mortal — while standing against the evil forces that threaten her, her family and the daylight world humans inhabit.

“Chilling Adventures of Sabrina” is based on the comic book series of the same name and was largely filmed in Vancouver, British Columbia, Canada.

“Riverdale” showrunner Roberto Aguirre-Sacasa, who also serves as chief creative officer of Archie Comics, penned the script. Other cast members include Kiernan Shipka, Miranda Otto, Lucy Davis, Ross Lynch and Michelle Gomez.

Two seasons are currently planned.

“Crazy Rich Asians,” a two-hour celebration of fabulous wealth, stunning clothes and idealized love, complete with heroine who has to out-fox her beau’s imperious mother and vicious ex-girlfriend, is a faithful adaptation of the international bestseller by Singapore-American author Kevin Kwan.

More importantly it’s the first Hollywood movie in a quarter of a century to feature an majority-Asian cast — a feat not matched since “The Joy Luck Club” in 1993 and one driving frenzied publicity in the world of US entertainment.

It comes a year after “The Big Sick” made Kumail Nanjiani Hollywood’s first Pakistani-born rom-com hero and months after “Black Panther” became the third highest-grossing motion picture of all time in North America.

Kwan turned down a “gigantic” pay-offer from Netflix, to plop for Warner Bros. Pictures and a cinematic general release, looking to send a message and put down a marker for Asian-led box office receipts.

A massive publicity blitz appears to be working. The Hollywood Reporter expects the movie to make at least $28 million at the box office over the first five days in North America, up from $20 million several weeks ago.

Director Jon Chu wants the movie to convince Hollywood bosses that there’s plenty of money to be made from Asian-led projects, opening the door to greater representation.

“That we are worth that time, we are worth that energy and worth that effort,” he told Fox News.

“The cinematic experience is unparalleled in that kind of context, of putting it in the museum, in the glass box and say this is special.”

Filmed on location in Malaysia and Singapore, with a reported budget of $30 million, its cast is almost entirely Asian, Asian-American and Asian diaspora.

As a result, it’s American actress Constance Wu who gets to wear the posh frocks and British-Malaysian, former BBC host and hair stylist Henry Golding who gets to be the Cary Grant of summer 2018.

‘World your oyster’

“You don’t see that growing up. You don’t feel like you can be the hero of your own story. I think every child should feel worthy and feel loved,” a tearful Wu told NBC News.

“I want to get to a stage where it’s not headline news that this is the first movie in 25 years,” agrees Golding. “Let’s just tell stories, that’s what Hollywood was created for,” he told NBC.

Reviews are mostly positive, provided you suspend disbelief that a savvy New York Millennial would never once google the guy she’s been dating for a year.

So we see Chinese-American economics professor Rachel Chu fly to Singapore for Spring Break with her lecturer boyfriend Nick Young, seemingly clueless that he’s “the Prince William of Asia.”

Nick has marriage on the mind, whisking her off to his friend’s wedding and to meet his folks, only for Rachel to find out his family are “richer than God.”

Thrown into the mix are dazzling jewels, private jets, bitchy rich girls, class conflict and cut-class English accents, sneering not just at a girl from Queens, but an American period.

Prospective mother-in-law Eleanor, played by Michelle Yeoh, provides all the hauteur, while comedy comes from US actress and rapper Awkwafina, who plays Rachel’s nouveau-riche but well-meaning friend Peik Lin.

A survey of popular movies from 2007-16 by the University of Southern California found that only 5.7 percent of characters were Asian, and that only three percent of directors were Asian or Asian American.

Nevertheless Asian Americans accounted for the second highest per-capita attendance at the movies in 2017 after Latinos, according to the Motion Picture Association of America. Asians represent six percent of the US population and accounted for eight percent of frequent moviegoers, it said.

“The importance of seeing Asian faces up there is not lost on me,” Chu told NBC. “How it would feel if I was a kid to see that, to know you can be a handsome young man and all the world is your oyster.”

BNK48 – one of the international sister groups of Japan’s idol girl group AKB48 formed on the concept of “idols you can meet” – can finally be said to have reached the peak of popularity after a successful first year in Thailand’s music industry.

Today sees the general release of “Girls Don’t Cry”, a documentary by Nawapol “Ter” Thamrongrattanarit that tells the in-depth stories of the girl group and was well received by those fortunate enough to attend yesterday’s premiere at Paragon Cineplex.

In fact, two of the girls have already embarked on acting careers, with Patchanan “Orn” Jiajirachote playing a spy in director Yanyong “Suea” Kuruaungkoul’s romantic comedy “App War” and BNK48’s captain Cherprang Areekul cast in the lead role in an upcoming and as yet untitled teen thriller from Parkpoom Wongpoom alongside “Hormones” alumnus Teeradon “James” Supapunpinyo.

“T Moment has long wanted to make a movie for and about today’s teenagers, some of whom are already involved in startups. So we looked for rookies with acting talent to represent the new generation,” “App War” director Suea Yanyong told The Nation at the August 1 premiere of the movie.

“App War” tells the story of two startup teams, “Inviter” featuring Nat Kitcharit, Sirat Intarachote, Apiwit “Rung” Reardon and “Amjoin” featuring Warisara “Jingjing” Yu, Tanaphop “Third” Yoovichit, Ticha Wongthipkarn, and Orn BNK48, who compete against each other to win venture capital from an investor.

“I think the movie will inspire young people to follow their dreams,” added Orn BNK48, who plays the intern Nong Mild.

Making a documentary about teens was fairly plain sailing for Nawapol, whose past credits include “Mary Is Happy, Mary Is Happy”, “The Master” and “Heart Attack”, but he admits the schedule was tight and he wasn’t initially prepared for the depth of detail he would be covering in telling the stories of each of the 26 girls.

“I haven’t followed the idol group since the beginning,” says Nawapol in an interview with The Nation. “I’m not ‘otaku’,” he adds, using the Japanese term for people with obsessive interests, particularly in relation to anime and manga.

“But I was interested in how the idol group would adjust to Thai culture, as it is a very Japanese concept. However, it is a good phenomenon and an alternative to this country’s music scene.

“When we started, I wasn’t sure how I would approach the subject though I knew I wanted to bring aspects that fans have never seen or heard from their TV appearances and interviews. A point of interest is that BNK48 has been going for a year now and the girls are more mature than they were at the beginning. The documentary is like a flashback to the idol group’s thoughts, attitudes and moods,” he explains.

“Even if you are not a BNK48 fan, you can watch the movie, because it isn’t really about the idol group but about teens. It is more interesting than a usual documentary, because it is full of their attitudes and moods as they face unexpected situations and learn about fame and competition. Those are big lessons for girls so young.”

“Girls Don’t Cry” is different from the director’s previous coming-of-age movies, because it touches less on dreams and endeavours and more on learning and growing together as a popular idol group. Each girl has her own story, some happy and others surprisingly unhappy.

“It’s not just about a year that has seen them go from unknowns to success. These girls are different from high school students in that they have experienced more over the past 12 months as members of BNK48. Some of them rarely have the chance to speak for themselves and this documentary offers them that opportunity. These are the ones who are considered ‘undergirls’ and are therefore neglected by the media.

“I want it to be their own movie. I worked hard to gain the trust of each of the girls otherwise they would never have divulged their private stories. In fact, I was surprised at how complicated their stories were, even though I have produced many coming-of-age movies. It was like politics were ruining the friendship. Being in an idol group means you can’t avoid competition. BNK48 is also different from other music contests, which end up with a single winner. Additionally, as an idol group, they are together all the time. It’s a strange situation. Although they are girls, they aren’t as weak as everyone thinks,” Nawapol explains.

The 34-year-old director spent five months following BNK48 and shooting the film, which spans the period from their official launch in the middle of last year and their first single “Yak Cha Dai Phop Thoe – Aitakatta” through their hugely successful followup, “Khukki Siangthai – Koisuru Fortune Cookie” to today. In 2018, the idol group released “Wan Raek – Shonichi” and their fourth single “Kimi wa Melody” is coming soon.

The girls have been much in demand for commercials too, becoming presenters for True Move H, Fuji Film, AP Honda, Jele Beautie, Yayoi and Samsung among others, as well as being portrayed as major supporters of Thailand’s National Football Team aka Changsuek.

“This documentary is a kind of character study – an unprecedented big-screen closeup of the idol group. I think that everyone knows the story behind BNK48 so I go deeper, looking at their feelings about being or not being senbatsu (the selected ones) and the pressure they are under. I think all members knew what they wanted to say and what they didn’t want to reveal,” Nawapol continues.

While the movie title “Girls Don’t Cry” might bring to mind American director Kimberly Peirce’s “Boys Don’t Cry” based on the real-life story of Brandon Teena, an American transgender, Nawapol says the other film never even crossed his mind.

“The name came to mind during the girls’ interviews. I saw some of them weeping and I was very close to their feelings. Although others didn’t cry, I could see something inside. I think that tears are beautiful and interesting. The name symbolises both strength and weakness,” says Nawapol.

“‘Girls Don’t Cry’ is a movie that I think reflects the thoughts and feelings of a great many teenage girls.”

Bounce is a tailor made art campaign based on the idea of enlarging an ordinary bouncy ball and combining it with Snarkitecture’s signature pure and white design. It can be seen at Harbour City’s outdoor location from now until September 2. Another installation featuring a massive invasion of balls is also being held at the Gallery by the Harbour.

By transforming the familiar into the extraordinary, Snarkitecture makes architecture perform the unexpected. They have done an innovative signature installation titled “The Beach” in the National Building Museum in Washington DC and also shown in Paris, Bangkok and Sydney.

“Bounce” is an immersive and interactive installation that builds a large “stadium” along the Hong Kong waterfront. To investigate the boundaries between art and architecture, this time they are using the concept of a ball to create a surreal interactive playground. Visitors are invited to roll, lift and toss hundreds of enlarged one-metre-diameter white “bouncy balls” in the outdoor stadium. The stadium is also an iconic cage structure defined by a series of white steel frames. The nature of the public art installation encourages visitors to create their own unique playing experiences. Kids and adults alike will enjoy their moments in this remarkable stadium.

“Bounce” interactive installation is open from 11am to 7.30pm at the Ocean Terminal Forecourt, Harbour City. Each session runs for 20 minutes and admission is free of charge.

Meanwhile, an invasion of white and silver large spheres fills Gallery by the Harbour. Visitors can enter the world of bouncy balls and take photos of the special design and installation. The gallery is also selling the limited-edition merchandise of the exhibition, which includes the “BounceE” tee, pin and bouncy balls. The exhibition continues through September 2 and is open daily from 11am to 10pm

For more information, visit Facebook.com/Harbour City.

Based on the novella by George R R Martin, “Nightflyers” follows eight maverick scientists and a powerful telepath who embark on an expedition to the edge of our solar system aboard The Nightflyer in the hope of making contact with alien life.

But when terrifying and violent events begin to take place they start to question each other – and surviving the journey proves harder than anyone thought.

Martin also serves as an executive producer and the 10-part series is being co-produced by Universal Cable Productions and Netflix. Jeff Buhler wrote the adaptation for television.

Gretchen Mol from “Boardwalk Empire” is set to star as Dr Agatha Matheson alongside Eoin Macken (“The Night Shift”) as Karl D’Branin and David Ajala (“Fast & Furious 6”) as Roy Eris. The series will also star Sam Strike as Thale, Maya Eshet as Lommie, Angus Sampson as Rowan, Jodie Turner-Smith as Melantha Jhirl and Brian F O’Byrne as Auggie.

In 1981, “Nightflyers” won the Locus Award for best novella and the Analog Readers Poll for best novella/novelette, and was nominated for the Hugo Award for Best Novella. The novella was also the recipient of the 1983 Seiun Award in Japan for foreign short fiction.

Wright steps into the leading character in the final season after actor Kevin Spacey was forced to leave the series for alleged sexual assaults.

The acclaimed political series “House of Cards” focuses on an ambitious Democrat Frank Underwood (Spacey) who becomes the US president aided by his wife Claire Underwood (Wright).

Wright is joined by Academy Award nominees Diane Lane and Greg Kinnear as well as Cody Fern this season alongside Emmy Award nominee Michael Kelly, Jayne Atkinson, Academy Award nominee Patricia Clarkson, Emmy Award Nominee Constance Zimmer, Derek Cecil, Campbell Scott and Boris McGiver.

In 2013, “House of Cards” became the first original online series to receive major nominations from the Primetime Emmy Awards. The series has received 53 Emmy nominations to date, with seven awards – including the first major Emmy for a streaming service for David Fincher for “Outstanding Directing for a Drama Series.” “House of Cards” received six Golden Globe nominations, and two wins. The historic series has also received 11 Screen Actors Guild nominations with two wins; an AFI Award; four Writers Guild Award nominations, with one win; two BAFTA nominations; four Producers Guild Award nominations; two Directors Guild Award nominations; and a Peabody Award, among other accolades.

Instead, critics have slammed it as fat-shaming, homophobic and denigrating to transgender people.

The offbeat show follows the story of overweight teen Patty, who is mocked and bullied incessantly until she has an accident that requires her jaw be wired shut — which causes her to shed significant weight.

With her new svelte figure, she vows to seek revenge on all those who attacked her, notably by participating in beauty contests.

The trailer prompted fierce backlash from critics accusing the show of body-shaming.

It perpetuates “not only the toxicity of diet culture, but the objectification of women’s bodies,” read a petition launched last month.

With the show’s release on Friday, the petition — which calls for the series’ cancellation — had more than 229,400 signatures.

Some people also skewered the show for the way it portrayed homosexuality, including apparently making light of Patty’s best friend Nonnie for her repressed desire.

In another scene, a young girl who accidentally releases a nude photo of herself says she initially “figured everyone would think I’m a slut.”

“Now they think I’m a lesbian and that’s way worse,” she says.

And in another scene, Patty and a transgender woman compare being fat to being transgender, saying they both aspire to change their bodies.

“At the very least, it will be a conversation starter,” said Alyssa Milano, who stars in the show.

“People bring with them their own emotional history and that’s what makes art amazing and TV entertaining. I’m completely aware that it’s not a show for everybody but we’re really proud of what we did.”

Netflix’s vice president of original series, Cindy Holland, said the series explores issues “satirically, in a very over-the-top way.”

Lauren Gussis, who created the show, called it “a cautionary tale about how damaging it can be to believe the outsides are more important — to judge without going deeper.”

“Please give the show a chance,” she said.

OFTEN HAILED as one of the finest actors of his generation, Ewan McGregor, who returns to big screens today as a grown-up Christopher Robin, has played a diverse line-up of roles across a multitude of genres, styles and scopes. Most recently seen playing brothers Emmit and Ray Stussy in the award-winning series “Fargo”, he made his breakthrough as the heroin-addicted Mark Renton in “Trainspotting” and went on to star as Obi-Wan Kenobi in “Star Wars: Episode I –The Phantom Menace”, as Christian in “Moulin Rouge”.

Ewan McGregor plays a grown-up Christopher Robin in the film of the same name.

He made his directorial debut in 2016 with “American Pastoral”, based on the Pulitzer Prize-winning novel of the same name. McGregor also starred in the film opposite Jennifer Connelly and Dakota Fanning.

We put some questions to him about his latest role as Christopher Robin.

HOW FAMILIAR WERE YOU WITH THE CHARACTERS CREATED BY AA MILNE?

I remember the books, obviously. They were read to me when I was a little boy and I remember being very fond of them, and I read them to my children as well. I had a bear like Winnie the Pooh…it was a sort of old fashioned bear with arms and legs that had those funny joints. It wasn’t a Winnie the Pooh bear, but it was very much like him. And when I acted with our Winnie the Pooh it reminded me of my old bear.

Winnie the Pooh goes for a wander in the forest.

CAN YOU TALK ABOUT THE ANIMAL CHARACTERS IN THE FILM?

The creatures that they’ve made or designed for this film are amazing. They’re amazingly full of character just sitting still.

WHAT ATTRACTED YOU TO THIS ROLE?

I was quite charmed by the script and loved that they made Christopher Robin a man my age and that Winnie the Pooh comes back to him at a difficult time in his life. I found that really moving. Christopher Robin is the father of a daughter who he’s not very close to, and he recognises that and would like to be closer to her. And certainly, you get the feeling that she would like to be closer with her dad as well, and there’s something about this coming together of a father and his daughter that really appealed to me as a father of girls.

WHAT CAN YOU TELL US ABOUT THE SETS?

Looking at our sets and the stuff we’ve done outdoors on the streets where we’ve turned the streets of London into 1949 London streets, it looked so real. I’ve done lots of period things and the danger with period films is that they can become sort of in your face and you can see the period. But on this film somehow it didn’t….it just felt very realistic. And I think it was due to our talented production design and costume design.

HOW WAS IT WORKING WITH DIRECTOR MARC FORSTER?

Because of Marc and the people he chose to make this film with, like our director of photography Mattias Konigswieser, who did an amazing job, and the beautiful exterior and interior sets…everything looked absolutely beautiful and classic and real.

TALK ABOUT HAYLEY ATWELL, WHO PLAYS YOUR WIFE EVELYN IN THE FILM.

I love Hayley. Hayley and I did a Woody Allen film with Colin Farrell some years ago called “Cassandra’s Dream”. I think it might have been her first movie out of drama school, but it was fun working with her on that. So I was happy when Marc told me that he was thinking about casting her in this.

HOW ABOUT BRONTE CARMICHAEL, WHO PLAYS YOUR DAUGHTER MADELINE?

Bronte’s lovely…she was so natural and, again, so real. She is so lovely when she’s acting because she’s totally unaffected. I don’t know if it was her first film or not, I think it might have been (her parents are actors too, I think, and they’re lovely people), and she was just really, really good and a total sweetheart.

Bronte Carmichael plays Christopher Robin’s daughter Madeline.

HOW WAS IT WORKING OPPOSITE A STUFFED BEAR?

In this film we had to do takes with the hero teddy bears (they call them stuffies)…now I don’t know if that was an Americanism or a filmism, but they were basically teddy bears. So when I did the first takes, I did those with Pooh, and what Marc Forster did brilliantly was cast players for Pooh, Tigger, Kanga and Eeyore, actors who stood in for each of them. The film wouldn’t be nearly as affective, and the acting wouldn’t feel as real and as good if it wasn’t for those actors playing the characters.

HOW DID THE STUFFED ANIMALS LOOK?

They looked beautiful and very real with a sort of aged look to them…like Winnie the Pooh had a little balding patch on his tummy. They all looked like they had been in a toy box for 30 years.

WERE YOU ABLE TO RELATE TO THE CHARACTER OF CHRISTOPHER ROBIN?

I really like Christopher Robin. I really liked playing him, and I felt like I wanted to play him –not him particularly – but this character, I feel like I’d had in me for a long time.

WHAT DO YOU THINK AUDIENCES WILL TAKE AWAY FROM THE FILM?

I think people will be surprised and I think it’s probably what Walt Disney wanted from the beginning….a film that is for children, but not just for children.

Oscar winner Jennifer Connelly and Tony Award winner Daveed Diggs star in the series. Set seven years after the world has become a frozen wasteland, Snowpiercer centres on the remnants of humanity, who inhabit a gigantic, perpetually-moving train that circles the globe. Class warfare, social injustice and the politics of survival are questioned in this riveting television adaptation. The series is based on the acclaimed movie of the same name.

The series also stars Alison Wright, Mickey Sumner, Katie McGuinness, Susan Park and Tony Award winner and Grammy nominee Lena Hall.

“Snowpiercer” is a co-production of Tomorrow Studios, a partnership between Marty Adelstein and ITV Studios, and Turner’s Studio T. Award-winning writer and producer Graeme Manson (“Orphan Black”) is the showrunner and also serves as executive producer along with Scott Derrickson, Matthew O’Connor and the original film’s Bong Joon Ho, Park Chan-wook, Lee Tae-hun and Dooho Choi.

James Hawes will serve as director and co-executive producer.

The series will debut on TNT in the US.