There's plenty of magic, mythology, and larger-than-life action in Children of Blood and Bone, but beneath all that fantasy is something a little more grounded: family drama.
The upcoming adaptation of Tomi Adeyemi's bestselling novel closed out Saturday night at New York Comic Con with a packed panel on the Empire Stage, where director Gina Prince-Bythewood and the star-studded cast debuted an extended trailer offering fans another look at the fantastical world of Orïsha. And while the footage delivered on the film's epic scale, some of its most compelling moments were decidedly more intimate.
The trailer puts the royal family's fractured relationships into sharper focus. After witnessing a horrific act of violence at the hands of her father, King Saran (Chiwetel Ejiofor), Princess Amari (Amandla Stenberg) flees the palace, while her brother, Inan (Damson Idris), finds himself torn between loyalty to his father and his own conscience.
During a conversation moderated by Knives Out filmmaker Rian Johnson, the cast opened up about the emotional conflicts driving the film's two central families. Johnson described the relationship between Saran and his children as a "Shakespearean journey," one defined by love, betrayal, and the struggle to trust the people closest to you.
A royal family divided
Children of Blood and Bone follows Zélie Adebola (Thuso Mbedu), a young woman determined to restore magic to Orïsha after a brutal campaign against the maji, the people who once wielded it. Her quest puts her on a collision course with the ruling monarchy, where the king's cruelty has already begun to fracture his own family.
Ejiofor described King Saran as a man impelled by trauma and rage, whose convictions are challenged over the course of the story. "There's a sort of bottomless pit that he has," the actor said of his character's emotional intensity.
To explore the royal family's complicated history, Prince-Bythewood brought the three actors together to imagine the experiences that shaped their characters, including moments that might never appear onscreen. "Gina got us together and we kind of just talked about things that may have happened and may not have happened, and the dynamics of a family such as this," Idris said. "I think that all shows itself on screen."
For Idris, those conversations were essential to understanding Inan, a prince struggling to reconcile his father's expectations with his own beliefs. "Inan personally is such a complicated character who goes through so many different emotions," he said, adding that Prince-Bythewood gave him the patience and space to explore those contradictions.
Stenberg, meanwhile, was drawn to the tension between love and mistrust within the family, particularly how difficult it can be to rebuild a relationship after someone has hurt you. "There's something so beautiful and painful about when people love each other, [as] family, and are also trying to find a window of trust with each other, even when they have been hurt badly," Stenberg said.
The actors began developing that dynamic through video calls while living in different countries, before continuing the character work together on set in South Africa. For Stenberg, exploring those relationships was both emotionally demanding and rewarding. "We had such a good time," she recalled. "It was so sad, and it was so awesome."
And despite the family's fractured relationships, Ejiofor emphasized that their connection isn't entirely defined by conflict. "It is a deeply dysfunctional family," he said. "But there is love at the root of it."
Two siblings, one shared loss
That tension between love and conflict isn't limited to the royal family. On the other side of Orïsha's political divide are Zélie and her older brother, Tzain (Tosin Cole), whose relationship is similarly shaped by loss.
The siblings have experienced the same family tragedy, but they don't necessarily agree on how to move forward. As Cole explained, grief can manifest differently even among people who have suffered the same loss.
"Some people become defensive, some people rebel," Cole said. "Everyone's going through the same thing, just navigating it in a different way."
But despite their differences, Zélie and Tzain are ultimately driven by the same motivation to protect what's left of their family. "That's the most important thing between the two," Cole added. "Trying to keep whatever they have in the sense of love, and not trying to lose another family member."
Offscreen, however, Mbedu and Cole's sibling dynamic appeared considerably less fraught. The two spent weeks training together for the film's demanding action sequences, developing a natural familiarity that occasionally made Mbedu forget they weren't actually related.
"Sometimes I would forget that this is not my actual sibling," Mbedu recalled, joking that she'd have to remind herself to be professional on set. Then, gesturing toward Cole, she called him a "clown."
"I won't apologize for who I am," Cole shot back.
It was a playful exchange that offered a glimpse of their easy chemistry, and a welcome contrast to the royal family's considerably more complicated relationships.
Finding the humanity in fantasy
For Prince-Bythewood, those complicated relationships are what give the film's enormous scale its emotional weight. During the panel, she described her vision for Children of Blood and Bone as an "intimately grounded fantasy," one where the gods, magic, and battles never overshadow the people at the center of the story.
The filmmaker, whose previous credits include Love & Basketball and The Woman King, recalled asking Johnson for advice about approaching a production of this size. His response was simple: No matter how much money or how many resources a filmmaker has, the responsibility is still to tell a good story.
That attention to character extends to the world of Orïsha itself. Prince-Bythewood wanted the fantasy kingdom to feel tangible, building elaborate sets and filming in remote locations across South Africa.
A scene screened exclusively at NYCC offered a glimpse of that vision in action. Zélie trains with a bo staff under Mama Agba's (Viola Davis) watchful eye before she and the others hurriedly hide their weapons and pretend to weave clothing when royal officials arrive to collect taxes. It's a sequence that showcases the film's intricate fight choreography while underscoring the constant threat of living under King Saran's rule.
That attention to worldbuilding extends to the music. Prince-Bythewood wanted Orïsha to sound rooted in the past while still feeling contemporary. While writing the screenplay, she listened almost exclusively to Afrobeats, particularly Tems and Burna Boy, who later joined the production as soundtrack curator and music consultant, respectively. Composer Terence Blanchard then incorporated traditional African instrumentation and Tems' vocals into his orchestral score, blending contemporary sounds with musical traditions that could make Orïsha feel both ancient and alive.
It's all part of Prince-Bythewood's approach to creating a fantasy world that feels lived-in, even when its characters are wielding magic and fighting gods. And as the cast made clear at NYCC, the film's most consequential battles aren't necessarily fought with weapons or magic. Sometimes they're fought within families, between people who love each other but can't agree on what that love demands.