Films of your days. • A film you start finishes by itself: leave the app and it keeps going. On mobile data, clips stored in iCloud wait for Wi‑Fi, and a notice tells you when the film is ready. • The Pro offer in the chat agent now closes with a cross and comes back at most once a day.

Films of your days. • Invite a friend: Settings → Invite makes a link that says who sent it, and your code survives a reinstall. • The chat agent: without a subscription the app offers Pro Monthly or Yearly straight away, first week free. On an iPhone with Apple Intelligence, the private on-device option sits right beside it. • The calendar opens without a pause, and the app keeps its own account of any stalls. • Music: a track with no beat is cut to the picture, with the music underneath — and the Music step says so. • Ready for iPhone Duo: both displays, and on the open one the calendar and your clips side by side.

Films of your days. • The chat agent comes with Pro Monthly and Yearly: it answers on our model, nothing to set up, and the first week is free. Apple Intelligence and your own API key work as before. • While the phone charges, a day worth watching becomes a short film waiting in Films, with one quiet notice. Made on the phone; both switch off in Settings → Film. • Say «Show my film in Life2Film» to open it with Siri. • Two files with the same name no longer share one analysis, and date captions and the moment window now work for imported clips. • Osmo Pocket: originals download after a failed link, and the phone leaves the camera's Wi‑Fi when it is done.

Vlog listens better, and a few screens now say what is actually true. Choose the language speech is heard in: Settings → Film → Speech → Listens in. Recognition hears one language at a time, and until now it was always your phone's own. A clip whose only words are a stray phrase over silence keeps its pictures in a Vlog, and that phrase is no longer burned in as a subtitle. When too little is said to subtitle, the Looks step tells you so. The music stays down under someone who keeps talking, instead of dipping and swelling every couple of seconds. The same clips with the same settings now make the same film every time. Smaller fixes: the draft says "1 clip", not "1 clips"; the Films shelf and the Pro screen describe what they really do.

Five things you can see, and the calendar is the one most people will notice. The calendar wheel drew everyone a week that starts on Monday. It now starts your week where your language starts it — Sunday in the United States, Saturday across much of the Arabic-speaking world — which also means the day under your finger is the day you meant. The indexing scope in Settings did nothing, and forgot itself. Choosing "last three months" or "last year" left the app scanning whatever it had been scanning, and the choice was gone by the next launch. Both halves are fixed, and so is the same defect one field along: which library the app reads is now also remembered. Your phone locks itself again. A debug convenience had been holding the screen awake from the moment the app launched, so a phone left on a table stayed lit. The screen is held only while a montage is being made now, and released as soon as it is done. The permission sheet says what the app can do with your library. It named browsing, importing and cutting, and left out deleting — the "Delete from library" row in the gallery, which iOS confirms separately anyway. The sentence names all four. And the beat card no longer promises something only one style does. "The chorus cuts faster than the verse" is true of Music Video and of nothing else, so the card says what holds for every style instead: the track is cued to its strongest moment.

Two things the draft shows you now. Each of the three cards says how long its film is, beside how many shots it uses. Ask for a long film and the three are not the same length — one can run nearly twenty seconds longer than another — and until now the screen gave only the shot count, so the longest film was the one you had to find by playing all three. And when the cut returns to the clip it just left, the ribbon says so: the two shots are joined by a thin bridge in that clip's own colour, and VoiceOver reads “same clip as the one before”. It forbids nothing — a day of few clips still gets a film — it only stops the repeat being invisible, so you can move a shot if you would rather not have it.

Music reaches the film now. Choose a different track and the draft is re-cut to it — its beats, its sections, the second it starts on — and a song shorter than the film repeats to the end instead of going quiet. Mix or Replace rebuilds the draft you are watching. Subtitles can be switched on for any film, not only by choosing Vlog, and the row counts the phrases that fall inside the shots that were kept. The Make tab asks less: the period is one line saying where you are, any month is a tap away, and all nine occasions fit without scrolling. On the draft, hold a shot to move it and tap it to open it. Quieter, too. Screens that redrew ten times a second while a track played, and waits that could hang on an original still in iCloud, are both fixed.

Making a film now starts with what the film is for. Nine rows instead of one: a plain film, the summary of a day or a month or a year, Reels, Travel, Chronicle, Vlog, Happy birthday, New Year in December, and setting every row yourself. Each arrives with its own length, its own frame shape and its own cut, and each says in one line what it will do. Reels is vertical and fifteen seconds whatever shape the footage is. Travel puts the date in the picture at every change of shooting day. Chronicle keeps everything in the order it happened, up to ten minutes. Happy birthday lets people in frame outrank the scenery, and steps the track back under the singing. Vlog is the ninth row and the only one that listens. Choose it and the app recognises what was said in the clips, builds the cut around the speech, draws the phrases on screen and keeps the track under the voice. The Subtitles row on the Looks step then says which of six things happened rather than guessing: it is waiting for Vlog, recognition is switched off in iOS Settings, the recogniser could not answer, nothing was said in these clips, the words fall outside the chosen shots, or how many phrases will be burned in. A preset is starting values, not a cage. One row on the setup screen changes the style, and the eight read as what they do to the footage rather than as their own names. A chronicle keeps the live sound: it no longer inherits whatever track the Music tab last played. A shot can be dragged somewhere else in the film. On a film cut to music every cut stays where it was and the shots re-cut to fit the slots they land in; without a grid the shot moves whole. Either way the film keeps its length, and a move that would take the rest of the film off the beat is refused rather than half done. Fourteen colour looks, ten of them the kind of .cube table a colourist hands you. The picture above the ribbon is graded by the same table the export runs, so the chip and the picture agree; before this the chip said Warm over an ungraded frame. The music now ducks in the finished film and not only in the draft. Where somebody is talking, singing or laughing the track steps back and the voices come up. A moment the plan passed over can be taken into the film, and the film keeps its grid. A render survives leaving the editor. A Live Photo is a clip again instead of zero seconds quietly dropped. The Make sheet opens on the period the calendar was standing on. Two claims the app made and did not keep were removed rather than left standing: the beat model offered in Settings is a download that changes nothing today, and the caption beside it said otherwise. Thirty-six languages, walked at the largest accessibility text sizes. A dozen screens that clipped, truncated, or fell back to English there no longer do.

A film of a month or a year now visits every day you filmed. One busy afternoon used to take every slot, so whole weeks went missing from their own film; each shooting day gets a clip before anything gets a second one. A whole album, or a period spanning years, can become one film in the order you shot it — oldest to newest, up to ten minutes long. Every clip gets in, and none of them in more than two places, so what you watch is the period rather than the longest evening in it. Ask the chat for a film and you get a film. It would sometimes stop and describe what it had done instead of finishing — now the ask ends in a film, or in the reason it could not. Ask it for footage by what is in it — an ocean, a sunset, a cityscape — and the words are matched against Vision's own vocabulary rather than a hand-written list, so it finds them. The agent's model is picked from a list now, with what each one costs and what it can do, instead of typing a forty-character identifier on a phone keyboard. Tap any shot in the preview to see where it came from. The clip opens as a single image of its whole length, every moment the analysis found marked along it, and the span this shot uses framed. Choose a different moment and only that shot changes; the rest of the cut stays where it is. Films are no longer quietly built from the small copies your phone keeps when the originals live in iCloud. The render waits for the real footage, and if it cannot be fetched it says so and offers to build from what is here. "Make a film in Life2Film" now runs as one phrase to Siri, without stopping to ask you for a date. Your Photos albums and folders are in the gallery now, including the smart ones Photos keeps for itself. The clip editor no longer closes the app when you open it. A day you have already cut is re-cut instantly instead of analysed from scratch, and the calendar wheel stopped decoding full-size video to fill a small circle, which the battery notices. One new thing is not a feature. The app now counts how far a montage gets — started, cut, saved — along with the genre and the length. No footage, no names, no dates, nothing that says who you are. It is on by default and Settings, under About, turns it off; then nothing is sent at all.

Ask for the film you want. The chat now cuts one from a sentence — "make a film from yesterday", "find the clips with people from last week", "remove the pauses from my last video" — and can hand the clips it gathered to the montage screen for you to finish by hand, with your own style, length and music. On an iPhone with Apple Intelligence it thinks entirely on the device: no key, no account, nothing leaves the phone. It answers about the footage itself, too: how much you shot last week, which video is the longest, what a whole library adds up to — in a moment, however large that library is. Music gained a DJ's dial: cue points that snap to the bar, and a track split into voice, melody, and the drums-and-bass floor. Beat tracking runs on a neural model on the phone's own chip, so cuts land on the beat more often. HDR footage is no longer washed out — in the editor, in the preview, and in the finished film alike. The app speaks 36 languages. Pick one in Settings and it changes straight away, without a restart. Eight editing styles, from Film to Chrono, are a chip you tap on the montage screen.

Scrub a day's clips with a finger right on the year wheel, hear previews, and find finished films in their own Life2Film album. Live Photos and stills now count their real seconds in a montage. Day sections and a full-screen player in the gallery.

This release fixes the problems that made the first version unusable. The app kept decoding video behind closed screens — the calendar preview and the montage previews carried on playing after you left them. That is why the phone ran warm, the battery drained and everything felt slow. All of it now stops when its screen does. Also fixed: • The three cut options were not three. "Punchy" quietly produced the same film as "Smooth" whenever you had only a few clips. Now each of the three cuts differently. • "Reprise" could run five pieces of the same clip back to back — a fifth of the film as one continuous take. It now behaves like the other two. • Films you had already saved were being picked up as source footage for the next one, so a film of the day could be a film of yesterday's films. • Cancel closed the screen and left the analysis running to the end. It now stops. • Rotate did nothing at all. • The setup screen promised more shots than the footage could fill — one 30-second clip with three minutes asked for said "100 shots". It now tells you what it can actually make, and explains in full when the footage is short. • A stalled export could hang forever instead of reporting itself. • Ask-in-plain-language answers questions about your library instead of giving up on them, and the first answer after a pause arrives about twice as fast.