When the old dye works flush their vats, the rain over the harbor district falls red — and that is the only weather the killer works in. Detective Mari Anzai has three storms left in the season, a witness who only speaks in riddles, and a growing certainty that the rain is not being flushed at all. It is being scheduled.
» Rain-soaked neo-noir teaser trailer, moody photorealism, shot on anamorphic lenses with heavy bokeh. Opening: extreme wide of a dye-factory district at night as the rain slowly turns red under sodium lamps, crimson water sheeting down neon signage and pooling in tram tracks; a detuned piano motif over rainfall and a distant foghorn. Cut to: a trench-coated detective crouched under a transparent umbrella streaked with red droplets, lifting a single white glove from a puddle that blooms scarlet around her hand; the piano stops, leaving only rain and her slow exhale. Cut to: extreme close-up of a rain-streaked noodle-bar window, a silhouette on the far side calmly turning its head toward the lens; a lone violin harmonic rises to a whine, chopsticks click once, silence. Final shot: the detective sprinting down a flooded alley through red rain and white steam, umbrella tumbling away, camera tracking low and fast through the spray as the neon signs die behind her block by block; pounding taiko-and-bass hit, hard cut to black on one final raindrop. High-contrast charcoal grade with a single vermilion accent, 35mm film grain, volumetric neon haze, ultra-detailed, smooth prowling camera movement, trailer pacing, no text, no captions, no watermark.
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Single-pass Seedance 2.0 text-to-video with native audio, rendered by the AIMovies Studio. Style preset: Noir.
