International
Resident Evil…tops b-o collection in US and Canada
MUMBAI: Resident Evil: Retribution, the horror sequel, grabbed the top spot at the US and Canadian box office over the weekend by amassing $21.1 million (13 million pounds),it is understood. On the other hand, the 3D version of Walt Disney‘s cartoon Finding Nemo took the No. 2 spot in the US and Canadian box-office charts with an intake of $17.5 million, according to Disney.
Resident Evil: Retribution is the fifth film in a franchise that stars Milla Jovovich as heroine Alice in a battle against the Umbrella Corporation and its army of zombies. Domestic sales were in line with distributor Sony‘s pre-weekend projection for the low- to mid-$20 million range.
In international markets, the film added $50 million, for a worldwide total of $71.1 million. It did particularly well in Asia.
Sony president of distribution Rory Bruer credited Jovovich for the continuing success of the Resident Evil franchise.
Meanwhile, people of all ages headed to theatres to see Finding Nemo for the first time in the 3D format. The film ranks as one of the most successful from Disney‘s Pixar animation studio, generating global sales of $868 million during its original run.
Disney spent less than $5 million to convert the film to the 3D format. Although weekend numbers came in slightly lower than Disney‘s original projections, Disney‘s executive vice president for motion picture distribution Dave Hollis said the tally was in line with previous 3D re-release openings.
After two weeks at No. 1, the Demon film The Possession slipped to third place generating sales of $5.8 million.
International
Utopai Studios unveils 4K three-minute video generation for PAI platform
New Story Agent and editing tools aim to streamline AI-led filmmaking workflows
MUMBAI: Utopai Studios has announced a major upgrade to its PAI storytelling AI platform, introducing what it claims is an industry-first capability to generate three-minute videos in 4K resolution, alongside enhancements to its Story Agent feature.
The update, rolling out from April 15, expands the platform’s capabilities across the filmmaking process, from early concept development to post-production. The company said the new features are designed to help filmmakers maintain continuity across characters, scenes and visual styles, a key challenge in AI-driven storytelling.
At the heart of the release is a next-generation model that enables more structured narrative development, allowing creators to move more seamlessly from idea to execution. With tools such as multi-shot sequencing and multi-turn editing, the platform aims to give both studios and independent creators greater control over complex storytelling workflows.
Commenting on the launch, Utopai Studios co-founder and CTO Jie Yang said, “The next phase of AI in media will not be defined by isolated tools, but by systems that can carry story, continuity and collaboration across the full creative process.” He added that the update is a step towards enabling more practical, end-to-end narrative development at a professional level.
Echoing this, Utopai Studios co-founder and chief scientific officer Zijian He said, “Generative video is opening the door to a new production model, where creative ambition is less constrained by traditional cost and complexity.” He noted that the platform combines multimodal models with iterative editing to give creators more speed, control and consistency.
The company said PAI is already being used in professional film and television productions, particularly in Hollywood, for tasks such as pre-visualisation, scene design and post-production refinements. The latest update adds features including improved voice options, character consistency, unlimited editing and more flexible asset management.
Utopai also emphasised that its models are not trained on copyrighted material, positioning the platform as a cleaner alternative for creators and rights holders navigating the evolving AI landscape.
As AI continues to reshape content creation, Utopai’s latest push signals a shift from standalone tools to integrated systems, aiming to make high-quality filmmaking faster, more flexible and increasingly accessible.
