The new trailer for Springsteen: Deliver Me From Nowhere puts the camera close to a younger Bruce Springsteen, played by Jeremy Allen White, and keeps the pressure tight as the singer tries to make an album that feels small on purpose.
The clip premiered around the 2025 Emmys broadcast and uses “Atlantic City” as its spine, which is both a musical cue and an early signpost for what this film is actually chasing: the charged, hushed choices that led to Nebraska in 1982, not the fireworks that followed with Born in the U.S.A.
What’s on screen suggests a film about work more than myth. White’s Springsteen sings into a room that hardly looks like a studio and jots lines that read like case files.
Jeremy Strong appears as Jon Landau, the manager who has to weigh what the label expects against what the artist can live with, a relationship that the trailer frames with short, steady exchanges rather than speeches.
The theatrical release is set for October 24, 2025, under the 20th Century Studios banner.
Director Scott Cooper is adapting Warren Zanes’ book about the making of Nebraska, and coverage leading up to the trailer has been clear about the focus: a songwriter turning away from radio polish and building a record on a four-track in New Jersey, aiming for honesty over sheen.
Cooper has said he chose Nebraska over Born in the U.S.A. because the smaller canvas let him get closer to depression, family history, and the kind of creative gamble that does not look like a sure thing at the start.
If you followed the festival chatter, the trailer is arriving on the heels of a warm Telluride reception that singled out White.
Variety’s dispatch out of Colorado described a crowd that included Springsteen himself and noted how the film plays as a personal piece more than a cradle-to-stage sweep, with a wide release still slated for late October.
That timing helps explain the cut we’re seeing now: this is the momentum trailer, meant to carry strong first reactions into a broader run-up where general audiences meet the premise for the first time.
Reactions from critics who have already seen the movie line up with what the trailer teases.
The Wrap called it an antidote to the puffed-up rock myth template, praising the way Cooper skips the career scrapbook approach in favor of small decisions that add up to something durable.
The playlist of Nebraska cuts in the trailer, led by “Atlantic City,” isn’t just branding; it points to the film’s method, using those songs’ plainspoken storytelling as the model for how each scene plays out.
For White, the role has been a long build. In interviews around Telluride, he described finding the posture first and then the rest, including small costume tweaks and a focus on how the singer moves when he is not performing for a crowd.
That attention to the in-between is visible in the trailer’s brief details: a glance at a cassette, a hand steadying a notebook, a pause before a take.
The point is not a perfect likeness so much as a person you believe would make the choices that produced Nebraska, and that’s the lane many early notices say he hits .
The marketing is straightforward. 20th Century Studios’ official upload of the trailer closes with the date and a simple line promising the theatrical window, which is the obvious move for a music biopic with awards-season ambitions and a built-in audience.
What separates this trailer from a standard-issue legend package is the scale.
There are no arena shots, no instant-sainthood montages, no greatest-hits punch-up.
Instead, you get a few bars of a haunted single and a string of moments that imply cost. That is faithful to the source period.
There is also a practical side to staking a movie on the Nebraska era. For casual viewers, anchoring to “Atlantic City” and the cassette-era setting gives the story a clear frame.
For longtime Springsteen fans, the teaser suggests the film won’t rewrite the lore for easy triumph.
Best-case, that makes the wide release appealing on two fronts at once: a star-driven character piece for fall audiences and a careful return to a chapter that has often been discussed but rarely staged.
Between the official trailer, the studio’s date stamp, and the festival notes now circulating, all signs point to a roll-out that trusts the material rather than overexplaining it.
If you’re judging the trailer as a promise, it’s promising because it picks a lane and stays with it.
The cut keeps White’s face in the centre, gives Strong room to push back without grandstanding, and lets the song do the heavy lifting.
The result is a tight sell for a film about a quiet album that changed a career in ways you don’t measure by chart moves alone.
October 24 will tell the rest, but this preview suggests a film content to be patient, faithful to the material, and careful with its scale.
That is a smart way to invite people in, whether they know the record by heart or are hearing “Atlantic City” for the first time.
