There’s something genuinely exciting happening with Imagine, the animated science fiction feature that is set to release on January 26, 2026. Director Tyson Yunkaporta is bringing a vision to the screen that feels distinctly different from what we’ve been seeing in mainstream animation, and that alone is worth paying attention to in a landscape that often plays it safe.
What makes this project so compelling is its explicit commitment to authentic representation. The tagline—”For Us, by Us”—isn’t just marketing speak; it’s a statement of purpose that reflects something deeper about who’s behind the camera and in front of it. Waangenga Blanco, Radical Son, and Wayne Blair are lending their talents to bring Yunkaporta’s vision to life, and the fact that this creative team exists in the first place tells us something important about where cinema is headed. This isn’t a case of outside voices telling someone else’s story; this is storytellers reclaiming their own narratives.
Yunkaporta has been a significant figure in advancing more nuanced conversations about representation in film and television. His work has consistently challenged conventions, and Imagine—a science fiction fantasy hybrid—represents an opportunity to explore imaginative worlds through a perspective that hasn’t traditionally dominated the genre. Science fiction and fantasy have historically been gatekept spaces, so seeing this project come to fruition feels like a genuine shift in who gets to imagine the future.
The runtime of just 1 hour and 20 minutes is interesting in itself. There’s something bold about committing to such economy of storytelling in animation, where projects often feel obligated to sprawl. This suggests Yunkaporta trusts his material completely—he knows exactly what he wants to say and isn’t interested in filler.
“For Us, by Us.” — That tagline carries weight. It’s a declaration that this story belongs to its makers in the most fundamental way.
Right now, the film exists in that anticipatory space where it hasn’t yet been seen by audiences but is already generating significant buzz. The fact that it’s scheduled for release in early 2026 places it in an interesting position within the theatrical calendar—not a typical blockbuster season, but a time when more adventurous filmmaking often finds its audience. This could work enormously in its favor, allowing it to build momentum through word-of-mouth rather than relying on massive opening weekend numbers.
What makes this project particularly timely is its connection to broader conversations happening in the industry right now:
- Representation in animation: Animated films have historically concentrated creative control in specific hands; Imagine actively redistributes that power
- Rural and regional storytelling: The partnership between Imagine Entertainment and Land O’Lakes signals interest in more nuanced portrayals of rural life and communities often overlooked in mainstream narratives
- Genre accessibility: By working in science fiction and fantasy, Yunkaporta is claiming space in genres that influence how we imagine futures and possibilities
- Independent creative vision: In an era of franchise saturation, Imagine represents something that exists on its own terms
The collaborations happening around this film suggest it’s part of a larger ecosystem of change. The industry is beginning to recognize that authentic storytelling creates more compelling cinema—not as a diversity checkbox, but because perspective and specificity make for better art. When filmmakers create from lived experience rather than assumption, audiences respond to that truth.
What we can expect from Imagine, based on Yunkaporta’s track record, is something that refuses easy categorization. Animation often gets pigeonholed as either children’s entertainment or indie art project, but this film seems positioned to operate in more complex territory—using the possibilities of animation to explore themes that matter, with the visual language that animated storytelling uniquely provides.
The cast brings their own formidable talents to the project. Wayne Blair, in particular, has demonstrated remarkable range across film and television, bringing authenticity and depth to every role. The presence of artists like Blanco and Radical Son—names that suggest ties to Indigenous creative communities—further reinforces that this is filmmaking rooted in real community rather than extractive tourism.
As we move toward January 26, 2026, Imagine represents something the film industry genuinely needs: creative risk-taking centered on voices and perspectives that expand what cinema can be. It’s not yet premiered, there’s no critical consensus yet to point to, but there’s something in the very existence of this project that matters. It’s a reminder that cinema works best when we allow space for genuine imagination—not the focus-grouped, demographically-researched kind, but the real imaginative work of artists creating from their own truth.
