David Meltzer
The Shelby family will return to screens in 2026, as Netflix has confirmed release dates for Peaky Blinders: The Immortal Man, the long-anticipated film continuation of Steven Knight’s celebrated Birmingham saga. The film will open in select cinemas on 6 March 2026, before arriving on the streaming platform globally on 20 March 2026.
Directed by Tom Harper, the film sees Cillian Murphy reprise his role as Tommy Shelby, now returning from exile to a city transformed by the pressures of 1940 and the looming shadow of the Second World War. Several original cast members — including Sophie Rundle, Stephen Graham, Packy Lee, Ned Dennehy and Ian Peck — join a new cohort of high-profile actors such as Rebecca Ferguson, Tim Roth and Barry Keoghan, signalling Netflix’s ambition for the project. Filming took place across Birmingham and the West Midlands, grounding the story once more in the textures of the city that helped define its global appeal.
The timing of the release coincides with a broader cultural moment for Birmingham, whose profile on screen has grown steadily over the past decade. While the Peaky Blinders franchise has done much to mythologise the city’s past, another generation of filmmakers is now turning its attention to the Birmingham of the present. Among them is Actor Kay S. Ubhi, whose forthcoming feature This Is Birmingham offers a contemporary, lived-in portrait of the city — a counterpoint to the stylised, near-legendary world of the Shelbys. Ubhi’s work reflects a shift towards stories rooted not in folklore, but in the lived realities of modern Birmingham.
As Netflix positions The Immortal Man to captivate international audiences, Ubhi’s film exists in a complementary space — one where the global fascination with Birmingham, sparked by the Peaky Blinders phenomenon, creates an opening for authentic local voices. By juxtaposing the historical and mythic vision of the Shelbys with the lived, modern streets captured in This Is Birmingham, both projects together offer a richer, more nuanced portrait of a city that is increasingly gaining recognition on the world stage.
With The Immortal Man poised to draw global audiences back into the industrial heart of Britain, and independent filmmakers broadening the city’s narrative horizons, Birmingham appears set for a defining period on screen — one where its past and present compete, collide and enrich each other in equal measure.
