2026 has already been a successful year for Netflix, particularly thanks to the premiere of War Machine, the epic sci-fi monster starring Reacher veteran Alan Ritchson. The impressive thriller took the crown from The Rip (starring Matt Damon and Ben Affleck) to become the most-watched Netflix title of the year so far with over 125M views and more coming in every day. Netflix’s latest movie taking over the world is Swapped, the animated film starring Michael B. Jordan and Juno Temple. The film is still #1 on streaming charts more than a week after its premiere. Netflix has also had a few big TV shows to return this year, such as The Night Agent, which has been hailed as its streaming alternative to Prime Video’s Reacher. The Night Agent has been picked up for Season 4, which will serve as the final season of the series.
Netflix has a ton of exciting movies and TV shows coming this year, and one of the most interesting movies on the slate is Voicemails for Isabelle. This afternoon, Netflix previewed the first official trailer for the upcoming romantic comedy film, which stars Zoey Deutch (Nouvelle Vague, Everybody Wants Some!) and Nick Robinson (Maid, Love, Simon). Following the premiere of the first images a few weeks ago, the streamer has also confirmed a June 19 release date for the project. Nick Offerman, famed for his roles in Parks and Recreation and The Last of Us, has also been recruited for a key role in the film, along with Lukas Gage, Harry Shum Jr., Megan Danso, Gil Bellows, Toby Sandeman, and Spencer Lord. Voicemails for Isabelle was written and directed by Leah McKendrick, who previously starred in, wrote, and directed Scrambled (co-starring Clancy Brown). She’s also known for playing the newscaster in I Know What You Did Last Summer (2025).
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
What Is ‘Voicemails for Isabelle’ About?
Netflix has released an official synopsis for Voicemails for Isabelle ahead of its premiere. It reads as follows:
“Zoey plays Jill, a young woman grappling with the loss of her sister, Isabelle (played by Ciara Bravo. Unable to let go, Jill continues calling Isabelle’s old phone, leaving a series of raw, deeply personal, and often hilarious voicemails. What she doesn’t realize is that the number now belongs to Wes, a charming real estate agent played by Nick Robinson. As Jill keeps talking and Wes keeps listening, an unexpected connection begins to take shape.”
Voicemails for Isabelle promises to deliver all the same feelings as your favorite classic rom-com, but it also pushes out of the boundaries of the genre with a “poignant story of sisterhood and grief.” The film is perfect for fans of Notting Hill and Sleepless in Seattle.
Check out the official trailer for Voicemails for Isabelle above and stay tuned to Collider for more updates and coverage of the film, which premieres on June 19.
Release Date
June 19, 2026
Runtime
119 minutes
Director
Leah McKendrick
Writers
Leah McKendrick
Producers
Jason Blumenthal, Steve Tisch, Todd Black, Becky Sanderman
