“She doesn’t run from the past — she choreographs its end.”
Set within the brutal ballet of the John Wick universe, Ballerina (2025) is less a spin-off and more a ghost dance — a tale of grief given form, vengeance given rhythm, and a woman who moves like poetry… and kills like a storm.
Rooney (Ana de Armas) was trained from childhood to perform — both on stage and in the underworld. Raised by the Ruska Roma, her life was a choreography of discipline, beauty, and violence. But when her family is slaughtered by faceless killers from a distant vendetta, she doesn’t weep. She doesn’t scream. She trains. She sharpens every move. Every breath. Until the hunt becomes her new performance.
Through shadowy backstreets of Prague, neon-soaked alleys of Tokyo, and candlelit sanctuaries of New York, Ballerina dances its own tempo — quieter than John Wick, colder, but no less lethal. Her kills are clean. Her eyes, haunted. And unlike Wick, who fights from loss, Rooney fights from absence — she never knew peace, only silence.
Along the way, allies emerge from familiar corners — the Adjudicator, the Bowery King, a ghostly mention of “Baba Yaga.” But this isn’t their story. It’s hers. A silent tempest in pointe shoes. A requiem of rage wrapped in elegance.
Ballerina (2025) is more than vengeance. It’s what vengeance looks like when you never had a childhood — only a stage, a gun, and a name whispered through blood.
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cine cafex – 07/01/2025
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