How F1: The Movie Could Signal a High-Octane Franchise

29 June 2025

(L-R) Brad Pitt and Damson Idris at the F1 Grand Prix of Great Britain in July 2023/ Getty

F1: The Movie bursts into theaters as more than just a high-speed adaptation, it represents the beginning of a potential racing empire fueled by emotional arcs, franchise depth, and bold creative ambition. Directed and co-written by Joseph Kosinski, the film offers a striking balance between the intense spectacle of Formula One and the intimate story of seasoned driver Sonny Hayes, played by Brad Pitt, as he navigates redemption on and off the track. Kosinski’s recent revelation to Entertainment Weekly about alternate endings and sequel possibilities confirms that this cinematic vehicle may have much more road ahead .

In the film’s theatrical cut Sonny Hayes fulfills a classic redemption arc. Once a promising driver whose career teetered on the brink of collapse, he emerges victorious in the World Drivers’ Championship. Viewers who invest in character over spectacle can appreciate the film’s emotional payoff. Hayes’ climactic collision with Lewis Hamilton leaves space for the triumph of resilience rather than the randomness of fate.

Yet Kosinski confesses that there was another script on the table. In a candid moment with Entertainment Weekly, he shared that he and his writing team debated handing the championship to rookie sensation Joshua Pearce, portrayed by Damson Idris. That version of the ending would have underscored a theme of generational shift and legacy-building. In the end the decision to keep Sonny at the center of victory underscored that the film despite its ensemble feel leans into his journey and evolution.

Kosinski defends his choice by pointing out that Joshua’s career was just taking off, a line of dialogue echoes his future: “I’m going to win a million, mate.” That moment sets up both a win for Hayes and an open road for Pearce. The decision invites debate but ultimately prioritizes Hayes’ personal closure.

Beyond emotional satisfaction the film leaves us with tantalizing hints of expansion. As the credits roll, we see Hayes heading to Baja, Mexico. He arrives at dune buggy terrain, our first clue that his story is far from over. Kosinski describes Hayes’ intent as seeking “the next challenge” rather than a death wish because of his past crash. This adventurous detour signals a willingness to explore other racing theaters, an intentional invitation for a sequel.

Kosinski does not talk in hypotheticals. He shares his excitement about further adventures with Apex GP, APXGP in the film and the emotional landscapes of a veteran racer. Should audiences respond he’s ready to take the narrative further. Consider it a modern-day exploration of a hero’s journey; Hayes completing his redemption only to realize how much more life holds for him.

The sequel discussion is further energized by buzz from Kosinski’s wider filmography. Known for Top Gun: Maverick, the acclaimed director understands the power of cinematic universes. He has worked with Tom Cruise and is already co-developing a third installment in that acclaimed franchise. He’s teased ambitious ideas, including crossover dream scenarios like introducing Cruise’s Cole Trickle from Days of Thunder to spar with Hayes. Imagine Pitt and Cruise racing head-to-head an homage to rivalries like Ford vs Ferrari or one more chapter in the Cruise-Pitt mythos.

Kosinski may have missed the mark with Days of Thunder, but he’s learned and adapted. That journey led to F1, where he has full creative ownership. The film is his playground and his launchpad, blending bone-crunching action with the emotional honesty audiences crave. He’s assembled characters capable of living beyond this installment.

This is not just spin; it’s brand strategy. Hollywood treats intellectual property like real property. Studios seek franchises that build on a cinematic world like the Marvel, Fast and Furious, or Mission Impossible series. F1: The Movie introduces a universe with built-in sequel engines: veteran redemption, rookie promises, corporate drama, emotional stakes, and high-tech racing. Kosinski has placed potholes and forks on the road intentionally, allowing for expansion or a clean stop if demand stalls.

The early signals are strong. Critics praise the film’s visuals and Pitt’s commanding performance. Audiences have reacted positively to the climax and character dynamics. Box office returns will likely determine whether the sequel gets greenlit but the infrastructure is ready. Kosinski has already signaled that he and co-writer Ehren Kruger have ideas waiting.

For viewers and skeptics alike the question is whether premium racing drama can evolve into a durable franchise. Kosinski’s approach mixes the physicality of stunt-driven cinema with the internal mechanics of human drama. Hayes on a dune track is not just a visual shift, it’s a shift in emotional terrain too. Directors know that familiar characters in new environments can spark both curiosity and narrative freshness.

In sum F1: The Movie offers more than fast cars, it offers emotional currency. It closes Sonny Hayes’ redemption but slams open the door to fresh tracks. Kosinski has considered multiple outcomes already, placing seeds for Joshua Pearce’s rise, and Hayes’s desert pursuit. He’s hinted at future arcs that could include desert, rally, or crossover narratives featuring iconic rivals. If audiences are ready the story of Apex GP is far from over.

With audiences now buckled in for a ride that balances impassioned storytelling with high-performance spectacle, the film has delivered not just a moment but a journey, a journey that might stretch across continents, emotional states, and multiple sequels. Kosinski shapes a future where F1 is not a film, it is a franchise ready to check in the winner’s circle again.