Blacklight Global Entertainment has acquired U.S. distribution rights to Herman Yau’s We’re Nothing At All, with special screenings and theatrical engagements set to begin in Los Angeles in October 2026. The account is based on reporting by Deadline.
The Audience Award-winning film stars Patrick Tam, Anson Kong and Ansonbean. Deadline reports that Janice Leung negotiated the deal for Blacklight, while Hong Kong-based Golden Scene represented the filmmakers.
The initial U.S. plan includes a West Coast Premiere on October 10 at The Culver Theater. No additional cities, dates, digital release, or home-entertainment plan has been announced.
How the effects could spread
Blacklight’s acquisition gives the distributor the route to organize the announced Los Angeles screenings and engagements. If venues schedule them as planned, local cinema-goers gain a new opportunity to see the Hong Kong production theatrically.
That access could remain narrow: the announced rollout is centered on Los Angeles, and viewers elsewhere in the U.S. do not yet have a confirmed theatrical or digital option.
Impact assessment
For Blacklight, the agreement creates a formal U.S. distribution role and responsibility for the launch. For Yau, the cast and Golden Scene, it establishes a named distributor and an initial path into the U.S. market.
Los Angeles venues may gain programming opportunities through the engagements, although the report identifies only The Culver Theater and provides no audience-demand data. Outside Los Angeles, access depends on whether Blacklight expands the release.
Scenarios
Our outlook (informed speculation)
Most likely: If Blacklight follows through on its October plan, the Los Angeles special screenings and theatrical engagements will proceed with the October 10 premiere as the focal point. The release is likely to remain concentrated in that first market unless further venues are added. A Culver Theater listing, ticketing, and Los Angeles showtimes would support this trajectory.
Upside: If Blacklight extends the engagement model after the Los Angeles launch, additional U.S. cities could receive theatrical dates over the following six to 12 months, giving more audiences cinema access and widening the film’s domestic footprint. New exhibitor listings beyond Los Angeles would be the clearest signal.
Downside: If the October rollout is postponed, reduced, or fails to lead to additional engagements, U.S. access could be limited to fewer screenings than planned. A changed or cancelled October 10 premiere, reduced Los Angeles listings, or no subsequent theatrical dates would point in that direction.
What to watch next
The immediate indicator is ticketing or a venue confirmation for the October 10 West Coast Premiere at The Culver Theater. After that, announcements of engagements in other U.S. markets and any digital or home-entertainment release plan will determine how broadly We’re Nothing At All becomes available.
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