There’s something compelling about a crime thriller that doesn’t just want to entertain you—it wants to make you uncomfortable. In Cold Light is shaping up to be exactly that kind of film, and as it heads toward its January 23, 2026 theatrical release, there’s genuine anticipation building around what director Maxime Giroux has crafted with this ensemble of talented performers.
Let’s start with what we know. The film’s premise is deceptively simple but morally complex: Ava, freshly out of prison and attempting to rebuild her life, witnesses her twin sister’s murder. As the sole witness to a shooting, she’s suddenly caught between the criminal underworld and her own survival instinct. That tagline—“Desperate people do dangerous things”—isn’t just marketing speak. It’s a philosophical statement about the choices people make when cornered, when the system fails them, when there’s nowhere left to turn.
The film already premiered at the prestigious 2025 Tribeca Festival, which speaks volumes about its artistic ambitions and festival-circuit credibility before hitting wider audiences.
What makes this particularly interesting is the caliber of talent Giroux has assembled for this project. Maika Monroe, who’s been turning heads with her work in projects like Longlegs, carries the emotional and moral weight of the narrative as Ava. She’s proven she can navigate morally ambiguous territory while keeping audiences invested in her character’s humanity—exactly what this role demands.
Then there’s Troy Kotsur, an Academy Award winner for his transformative performance in CODA. Having an actor of that caliber involved signals that this isn’t a standard crime thriller. Kotsur brings depth and nuance to everything he touches, and his presence here suggests that character development and authentic human moments are central to Giroux’s vision. When you cast someone of that stature, you’re making a statement about the material.
Allan Hawco rounds out the core cast, bringing his own dramatic weight from years of complex character work. The combination of these three performers creates something intriguing:
- Monroe as the protagonist caught in moral quicksand
- Kotsur as a wildcard character likely to anchor the film’s emotional authenticity
- Hawco adding dramatic texture and unpredictability to the ensemble dynamic
The production itself carries legitimate credentials. XYZ Films, Lithium Studios, IPR.VC, and Peripheria Productions have pooled resources for this project, suggesting a serious commitment to the material. The fact that it played Tribeca—one of the most prestigious film festivals in North America—before landing a US distribution deal with Saban Films indicates industry confidence in what Giroux has delivered.
What’s particularly notable is that this film exists in the space between prestige cinema and genre entertainment. Crime thrillers often struggle to be taken seriously by critics, but the In Cold Light team seems determined to treat the genre with the gravity it deserves. A 1 hour 36 minute runtime is economical—no bloat, no filler. Just lean, focused storytelling built around moral tension rather than spectacle.
Director Maxime Giroux is orchestrating what could be a conversation-starter about criminal justice, family obligation, and the impossible choices facing people with limited options. The Canadian setting and production perspective brings a fresh sensibility to what might otherwise feel like familiar noir territory. There’s often a particular texture to Canadian crime cinema—a kind of world-weary authenticity that avoids the melodrama that sometimes plagues American thrillers.
Here’s what the core appeal really comes down to:
- Character-driven storytelling in a genre often dominated by plot mechanics
- Award-caliber performances from actors who elevate everything they’re in
- A director with a clear vision and festival pedigree
- A premise that asks uncomfortable questions about survival and morality
The January 2026 release date positions this film at an interesting moment—early enough in the year to stand apart from year-end awards contenders, yet strategically placed before the spring blockbuster season. It’s the kind of release slot that suggests confidence without making massive commercial claims. This isn’t a tentpole franchise entry. It’s a film—one that respects its audience’s intelligence.
What In Cold Light may ultimately offer audiences is a reminder that crime thrillers can be vehicles for genuine human drama. Giroux seems interested in exploring the weight of witness, the psychology of survival, the complicated bonds between family members, and the moral compromises that desperation demands. These are substantial themes, and the talent involved suggests they’ll be treated with appropriate seriousness.
As we count down to that January 23 release, the early festival reception and critical interest suggest this could be a film that lingers with viewers long after the credits roll. In a landscape sometimes dominated by franchise fatigue and formulaic storytelling, there’s real value in filmmakers willing to sit with uncomfortable questions. In Cold Light appears to be exactly that kind of cinema—ambitious without being pretentious, grounded without being predictable. When it arrives in theaters, it’s worth paying attention.
