Laika has partnered with Fathom Entertainment to handle US theatrical distribution of upcoming animated feature Wildwood and struck a deal with FilmNation Entertainment to handle international sales.
The stop-motion animated feature is set to open in US cinemas on October 23, 2026. FilmNation will introduce the title to international buyers at the European Film Market (EFM) in Berlin next month.
The partnership with Fathom builds on the success of its theatrical re-releases of Laika’s acclaimed features Coraline, which took $56m worldwide, and ParaNorman.
Wildwood is a fantasy feature directed by Travis Knight, president and CEO of Laika, who previously directed Kubo And The Two Strings and Bumblebee.
The story follows a girl’s desperate quest to save her baby brother, which becomes a journey into a forbidden forest filled with enchanted creatures, unlikely allies and formidable adversaries. The cast includes Carey Mulligan, Peyton Elizabeth Lee, Jacob Tremblay, Mahershala Ali, Angela Bassett, Awkwafina, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Maya Erskine, Tantoo Cardinal, Tom Waits and Richard E. Grant.
David Burke, Laika’s chief marketing and operations officer, said: “For Wildwood, we’re taking a more customised approach to how we bring the film to audiences, matching partners to the specific needs and ambitions of the project.
“Partnering with Fathom’s Denver-based team brings national perspective and operational strength to the US release, while working with FilmNation internationally positions the film with scale, reach, and deep expertise in global markets. It’s a strategy built specifically for Wildwood, preserving Laika’s independence while aligning with world-class collaborators to support the film’s ambition.”
Knight said of the upcoming feature: “Wildwood is the biggest world Laika has ever built, and the most personal. It’s a story about the pull of the unknown, the courage it takes to step into it, and who you become along the way.
“Our movie is a celebration of artistry over algorithms, and of the belief that films made by hand, with enormous care, can still feel bold, surprising, dangerous, and alive.”
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