"Disclosure Day" Official Teaser: Emily Blunt Confronts World-Shaking Evidence in Steven Spielberg’s Sci-Fi Mystery Return with Josh O’Connor & Colman Domingo — Hitting Theaters June 12, 2026
Blunt plays a weather woman who uncovers a world-changing secret and must decide whether to reveal it to the world in Spielberg’s star-studded sci-fi mystery.
Here’s a little fun fact: Steven Spielberg’s very first feature film was a 1964 student-made project called Firelight. Made for $500, he shot the movie with the help of friends and family and used local actors from his high school to play scientists investigating strange, unidentified lights in the sky. Spielberg was only 17 years old at the time, yet ambitious enough to secure a world premiere screening at his local movie theater in Phoenix, Arizona.
The Oscar-winning filmmaker has since called it one of the worst films he ever made. Which just goes to show that even legends have to start somewhere, and sometimes the road to greatness is paved with shoestring budgets and starry-eyed dreams.
The other big takeaway is that even back then, Spielberg was already deeply fascinated by UFOs and alien encounters, as Firelight would later be reworked into one of his greatest masterpieces, Close Encounters of the Third Kind, arguably cementing his status as Hollywood’s master of wonder and awe. Spielberg, however, has stated publicly in recent years that his belief in the existence of extraterrestrial life has increasingly diminished, as evidence of such contact has not improved despite the widespread popularity of camera phones. But something tells us that his fascination with such ideas has not fully waned, as he’s set to return next summer with yet another sci-fi mystery that asks, are we the only ones out there, or are we not alone?
Based on an original story idea from Spielberg himself, yet reteaming with frequent screenwriting collaborator David Koepp (of Jurassic Park, The Lost World, War of the Worlds, and Indiana Jones and the Kingdom of the Crystal Skull), Disclosure Day stars Emily Blunt as a local Kansas City weather woman who is shown irrefutable evidence of non-human intelligence that might already be living among us. And Blunt’s character is now hit with the impossible question: does she tell the rest of the world or keep the truth hidden?
But here’s the thing: as much as fans might want to scream that Spielberg has returned to his roots once again, tackling themes he has not touched since his days on Close Encounters of the Third Kind, this time it feels far more like Spielberg exploring the concept of what truth really means. Transparency is a term that people like to throw around these days, as a way of saying we wish those in power could be more open and honest with us. But in a world where conspiracy and misinformation have run rampant, and some are capitalizing on such fears, the idea of truth has become far more complicated than it should be.
“People keep wondering and encountering the unknown.
They are starved for the truth!”
Colman Domingo firmly declares this quote in this newly released teaser trailer for Spielberg’s Disclosure Day.
Domingo is among a stacked cast, playing one of many searching for this “truth” in the hopes of finally understanding who we are and what lies beyond our understanding. He is joined by Josh O’Connor (who is everywhere these days, not that we’re complaining, he’s great!), who plays someone connected to Emily Blunt’s character and who possesses the very evidence he wants the entire world to see and know about.
Colin Firth also costars, possibly playing a tech billionaire who may want to exploit this “evidence” for his own personal gain. Now, that’s just speculation based on the footage we’ve seen so far. Details for the film are being kept under wraps for the time being.
Others in the cast include Eve Hewson, Wyatt Russell, Henry Lloyd-Hughes, Michael Gaston, Noah Robbins, Gabby Beans, and Patricia Conolly.
Disclosure Day is Spielberg’s first feature since his 2022 Oscar-nominated semi-biographical coming-of-age drama The Fabelmans, and it signals a return to the science-fiction-tinged mystery genre where he originally defined his cinematic voice.
The film also marks Spielberg’s ongoing collaboration with legendary Oscar-winning composer John Williams, who at 93 has hinted his retirement is nearing. This will be Williams’s 30th collaboration with Spielberg.
Produced by Kristie Macosko Krieger alongside Spielberg for Amblin Entertainment, Disclosure Day positions itself firmly in the director’s legacy sweet spot of big ideas and big emotions, with existential dread wrapped in blockbuster scale.
So, all will be disclosed. The truth is coming... next summer, hitting theaters on June 12, 2026.
Official Synopsis:
A film by Steven Spielberg.
If you found out we weren’t alone, if someone showed you, proved it to you, would that frighten you? This summer, the truth belongs to seven billion people. We are coming close to … Disclosure Day.
Universal Pictures is proud to release a new original event film created and directed by Steven Spielberg. The film stars SAG winner and Oscar® nominee Emily Blunt (Oppenheimer, A Quiet Place), Emmy and Golden Globe winner Josh O’Connor (Challengers, The Crown), Oscar® winner Colin Firth (The King’s Speech, Kingsman franchise), Eve Hewson (Bad Sisters, The Perfect Couple) and two-time Oscar® nominee Colman Domingo (Sing Sing, Rustin).
Disclosure Day is in theaters 06.12.26.
With six months to go before Disclosure Day arrives in theaters, there’s plenty of time to revisit the Steven Spielberg films that have explored similar ideas and themes. So, let’s dig in and take a look, shall we?
Firelight (1964)
Made when he was just 17 and shot on a shoestring budget, this is Spielberg’s scrappy feature film debut that would launch his lifelong fascination with UFOs, alien encounters, and humanity’s relationship with the unknown. When mysterious lights start appearing in the night sky over a small town, people begin vanishing without a trace. A group of scientists and UFO believers set out to uncover the source of the phenomenon, only to discover something far beyond their understanding. Made with homemade effects and a cast of high schoolers and locals, it’s essentially Spielberg’s training ground. And one he’s openly admitted he’s now embarrassed by. It’s also a lost film, as only about three minutes of footage have survived and made public.
Close Encounters of the Third Kind (1977)
Before he melted our hearts with E.T., Spielberg went big and existential with this awe-inspiring alien contact epic. Richard Dreyfuss plays an everyday guy obsessed with a mysterious vision, leading to one of cinema’s most iconic encounters at Devil’s Tower. It’s part UFO thriller, part spiritual journey, and a 100% masterpiece that dives into how human obsession with the unknown becomes a life-altering calling. Spielberg himself has said he would change the ending today, now that he knows what it’s like to be a parent and that the thought of leaving your children behind would be unthinkable. Nevertheless, the film shows how irrational one can become when faced with the unimaginable. Perhaps this film alone might be the closest comparison to Spielberg’s latest.
E.T. the Extra-Terrestrial (1982)
It’s the film that made an entire generation cry over a glowing alien with a Reese’s Pieces addiction. When a stranded visitor from the stars befriends lonely kid Elliott (Henry Thomas), their bond transcends species in the most heartwarming way possible. Drew Barrymore, flying bicycles, and “E.T. phone home”... this isn’t just a movie, it’s a cultural touchstone that proves Spielberg knows how to capitalize on tears and wonder. It’s Spielberg at his most vulnerable, as it’s secretly a movie about divorce and how saying goodbye to a loved one doesn’t need to be steeped in sadness, but can also be filled with hope.
A.I. Artificial Intelligence (2001)
Spielberg takes over Stanley Kubrick’s passion project for this haunting sci-fi fairy tale about David (Haley Joel Osment), a child robot programmed to love unconditionally. It’s darker than your typical Spielberg fare, but it still carries that boy-driven sense of adventure that feels like both a Pinocchio fable and an existential nightmare. Not one of our favorite Spielberg films, but it’s loaded with moments that still linger to this day: the “Flesh Fair” sequence is simply marvelous. And hey, Jude Law is a robot gigolo who becomes David’s Jiminy Cricket. Cool beans! File this under Spielberg’s dark sci-fi dystopia, which feels far removed from his latest.
Minority Report (2002)
This one’s a toss-up: is it a Spielberg movie or a Tom Cruise movie? Perhaps they share equal ownership of the top billing. Adapted from a Philip K. Dick sci-fi novel, this is Spielberg’s attempt at something closer to Blade Runner, depicting a version of the future that is both wildly imaginative and deeply prophetic. Cruise plays a PreCrime cop whose job is to stop murder before it happens in a world where crime can be predicted. So when he becomes the accused, he’s forced on the run through a maze of retinal scanners, gesture-based computers, and jetpack chases. It’s pure Spielberg, a slick mix of crime noir and sci-fi action that digs into uneasy questions about policing, free will, and the illusion of control.
War of the Worlds (2005)
Spielberg once again teams up with Cruise, this time updating the classic H.G. Wells tale of alien invasion, which can be read as a parable of post-9/11 America and its fear of being invaded by sleeper cells. Here, Cruise plays a deadbeat dad forced to protect his kids when massive tripods emerge from the ground, vaporizing humanity with zero mercy. It’s intense and relentless, trading the warmth of E.T. for pure apocalyptic survival horror, and proving that Spielberg’s alien encounters aren’t always friendly. If E.T. was about a child coping with divorce, this one is about a parent’s fear of losing their children altogether.