Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops

Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops

      The Leapmotor A10 is set to compete against the BYD Atto 2 and a range of electric B-segment SUVs in Europe.

      Leapmotor has unveiled the first images of the A10, a small fully electric SUV, which will make its debut at the Guangzhou Auto Show later this month. The A10 will also be made available in Europe, accompanied by a related small hatchback.

      With this launch, Leapmotor is expanding its lineup, focusing on the competitive small SUV market. The A10 is positioned beneath the larger B10 and will be paired with a closely related hatchback, likely named the A05.

      The company has released initial official photos of the model ahead of its global premiere at the Guangzhou Auto Show on November 21.

      The exterior of the A10 features smooth surfaces and rounded shapes consistent with Leapmotor's design language, along with a wraparound greenhouse similar to Citroen's style, subtle plastic cladding, and LED lighting with dark clusters.

      Available in Seaweed Green and Acorn Brown, the A10 is mounted on five double-spoke alloy wheels. While specific dimensions have not been provided, it is expected to be around 4,200 to 4,300 mm in length, placing it in the small SUV category.

      A roof-mounted LiDAR unit and visible sensors along the side suggest that this model will come equipped with a comprehensive array of advanced driver-assistance systems.

      Interior and Technology

      The cabin is expected to adhere to Leapmotor’s minimalist aesthetic, featuring a large infotainment display paired with a streamlined dashboard and seating for five. Its electric platform should maximize space efficiency, with Leapmotor promoting the A10 as a “smart, premium, long-range SUV.”

      Although technical specifications are still under wraps, it is anticipated that it will utilize a single electric motor and offer a range that competes well with other small EVs.

      Both the A10 and the related A05 supermini, which is expected to launch in 2026, are slated for release in Europe, adding to the existing T03, B05, B10, and C10 models already available there. In China, Leapmotor's offerings are broader, including the B01 and C01 sedans as well as the C11, C16, and D19 SUVs.

      Competition

      In its home market, the A10 will face competition from the BYD Yuan Up (also known as the Atto 2), which is priced between ¥96,800 and ¥119,800 (approximately $13,600–$16,900 based on current exchange rates).

      In Europe, it will enter a competitive market of compact electric crossovers, including the Citroen e-C3 Aircross, Opel Frontera Electric, Renault 4 E-Tech, Kia EV3, Peugeot E-2008, Fiat 600e, Jeep Avenger, Alfa Romeo Junior, Ford Puma Gen-E, along with the upcoming VW ID.Cross and Skoda Epiq.

      Between January and September 2025, Leapmotor achieved global deliveries of 395,516 vehicles, marking a 129% year-on-year increase and surpassing one million in cumulative sales. In October, the brand maintained its momentum, recording its sixth consecutive month of record-breaking sales with 70,289 units sold.

Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops

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**Written and Directed by Hikari.**  
**Starring Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto, Paolo Andrea Di Pietro, Shinji Ozeki, Yuji Komatsu, Ryoko Osada, Gan Furukawa, Risa Kameda, Kana Kitty, Yuma Sonan, Nihi, and Shino Shinozaki.**  

**SYNOPSIS:**  
An American actor in Tokyo grapples with a lack of purpose until he secures an unusual job: working for a Japanese "rental family" agency, where he assumes roles for strangers. As he becomes intertwined in his clients' lives, he starts to forge authentic connections that blur the lines between acting and reality.  
In Japan, there are peculiar services that allow individuals to hire someone to assume a role in their personal lives or family. This relatively unexplored concept is at the heart of writer/director Hikari’s second narrative feature, *Rental Family* (named after the service depicted in the film), which presents various themes ripe for further examination. However, some restraint and focus could have been beneficial, as, by the end, apart from Brendan Fraser’s struggling actor who has made Japan his home, the other characters lack depth and primarily serve to elicit emotional responses from the audience.  
It is frustrating how often the film attempts to elevate emotional stakes in the second half, as it caused this critic to experience the opposite effect, leading to a collapse of engagement. The only cohesive element is the remarkable ensemble, fronted by the genuinely heartfelt performance of Brendan Fraser, who nearly compensates for the structural and character shortcomings surrounding him.  
His character, Philip (who assumes a new identity with each client and scenario), is understandably hesitant to join the service despite his urgent need for employment. On the surface, this service appears to have the potential for greater harm than good. Nevertheless, his views are gradually shifted by the outcome of a staged marriage he participates in, which enables the faux bride to escape to Canada with her girlfriend, allowing her to live authentically while her homophobic family remains under the impression that she is fulfilling the traditional role expected of her. While deception is inherent, everyone finds happiness, and an oppressed individual can live the life they desire.  
Philip's subsequent role poses more ethical dilemmas: he plays a mother (Shino Shinozaki) attempting to reconnect her rebellious daughter (Shannon Mahina Gorman, who is also fluent in English) with her estranged father, under the belief that this might reform her behavior enough to enable her enrollment in a prestigious school with promising future prospects. For Philip, the task is to embody Kevin, Mia’s estranged father, who ostensibly returns to her life with a change of heart. Naturally, Mia is wary, and Philip contemplates whether to draw the line before accepting the job. This concern stems from the role requiring him to promise he will never abandon Mia again, even though after three weeks and the completion of the exam, he will have to fabricate a story to return to America, effectively leaving the girl feeling forsaken once more.  
As sweet as it is to witness Philip/Kevin gain Mia’s trust and engage in her education—taking her to events like a Monster Cat Festival (a vibrant and colorful parade that showcases Japan's natural beauty)—one cannot help but question the mother’s reasoning in believing this is a solid plan, which could possibly shatter trust and leave emotional scars. Even if Mia performs better academically, what assurance is there that her improvement will persist after this false father departs, or even worse, should she discover the truth and worsen tensions with her mother? The plan is perplexing and neglects to provide the mother’s perspective (her character isn’t even named), with the narrative primarily focused on Philip.  
Philip's other roles include providing companionship to a lonely elderly actor (Akira Emoto) and expressing concern over the "apology" roles women are often assigned. The film also depicts the lives of various service employees, alongside a subplot where Philip regularly hires someone to alleviate his loneliness. While the film critiques the service for the degrading tasks women may undertake, the resolution concerning Philip, Mia, and her mother feels overly tidy, with the mother seemingly learning nothing and facing no consequences. This film would have benefited from focusing on one aspect of the rental service and developing it as the narrative's foundation. It is not that the film is overly complicated; rather, with numerous supporting characters, it feels compelled to heighten stakes or introduce convoluted twists, leading to contrived rather than natural storytelling.  
*Rental Family* follows predictable beats that invite eye-rolling. It conveys commendable messages about found family and the importance of human connection, and there's no denying Brendan Fraser's strength in this role (along with the compelling chemistry he shares with Shannon Mah **Rental Family, 2025** **Written and Directed by Hikari.** **Starring Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto, Paolo Andrea Di Pietro, Shinji Ozeki, Yuji Komatsu, Ryoko Osada, Gan Furukawa, Risa Kameda, Kana Kitty, Yuma Sonan, Nihi, and Shino Shinozaki.** **SYNOPSIS:** An American actor in Tokyo grapples with a lack of purpose until he secures an unusual job: working for a Japanese "rental family" agency, where he assumes roles for strangers. As he becomes intertwined in his clients' lives, he starts to forge authentic connections that blur the lines between acting and reality. In Japan, there are peculiar services that allow individuals to hire someone to assume a role in their personal lives or family. This relatively unexplored concept is at the heart of writer/director Hikari’s second narrative feature, *Rental Family* (named after the service depicted in the film), which presents various themes ripe for further examination. However, some restraint and focus could have been beneficial, as, by the end, apart from Brendan Fraser’s struggling actor who has made Japan his home, the other characters lack depth and primarily serve to elicit emotional responses from the audience. It is frustrating how often the film attempts to elevate emotional stakes in the second half, as it caused this critic to experience the opposite effect, leading to a collapse of engagement. The only cohesive element is the remarkable ensemble, fronted by the genuinely heartfelt performance of Brendan Fraser, who nearly compensates for the structural and character shortcomings surrounding him. His character, Philip (who assumes a new identity with each client and scenario), is understandably hesitant to join the service despite his urgent need for employment. On the surface, this service appears to have the potential for greater harm than good. Nevertheless, his views are gradually shifted by the outcome of a staged marriage he participates in, which enables the faux bride to escape to Canada with her girlfriend, allowing her to live authentically while her homophobic family remains under the impression that she is fulfilling the traditional role expected of her. While deception is inherent, everyone finds happiness, and an oppressed individual can live the life they desire. Philip's subsequent role poses more ethical dilemmas: he plays a mother (Shino Shinozaki) attempting to reconnect her rebellious daughter (Shannon Mahina Gorman, who is also fluent in English) with her estranged father, under the belief that this might reform her behavior enough to enable her enrollment in a prestigious school with promising future prospects. For Philip, the task is to embody Kevin, Mia’s estranged father, who ostensibly returns to her life with a change of heart. Naturally, Mia is wary, and Philip contemplates whether to draw the line before accepting the job. This concern stems from the role requiring him to promise he will never abandon Mia again, even though after three weeks and the completion of the exam, he will have to fabricate a story to return to America, effectively leaving the girl feeling forsaken once more. As sweet as it is to witness Philip/Kevin gain Mia’s trust and engage in her education—taking her to events like a Monster Cat Festival (a vibrant and colorful parade that showcases Japan's natural beauty)—one cannot help but question the mother’s reasoning in believing this is a solid plan, which could possibly shatter trust and leave emotional scars. Even if Mia performs better academically, what assurance is there that her improvement will persist after this false father departs, or even worse, should she discover the truth and worsen tensions with her mother? The plan is perplexing and neglects to provide the mother’s perspective (her character isn’t even named), with the narrative primarily focused on Philip. Philip's other roles include providing companionship to a lonely elderly actor (Akira Emoto) and expressing concern over the "apology" roles women are often assigned. The film also depicts the lives of various service employees, alongside a subplot where Philip regularly hires someone to alleviate his loneliness. While the film critiques the service for the degrading tasks women may undertake, the resolution concerning Philip, Mia, and her mother feels overly tidy, with the mother seemingly learning nothing and facing no consequences. This film would have benefited from focusing on one aspect of the rental service and developing it as the narrative's foundation. It is not that the film is overly complicated; rather, with numerous supporting characters, it feels compelled to heighten stakes or introduce convoluted twists, leading to contrived rather than natural storytelling. *Rental Family* follows predictable beats that invite eye-rolling. It conveys commendable messages about found family and the importance of human connection, and there's no denying Brendan Fraser's strength in this role (along with the compelling chemistry he shares with Shannon Mah Since July, there have been seven accidents involving Tesla Robotaxis. You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops You Can Purchase a Pristine 1996 Impala SS Still Encased in Plastic | Carscoops A flawless 1996 sedan, concealed for almost thirty years, is set to be auctioned with only 78 miles recorded on the odometer.

Stellantis' Latest Move in Europe Features a Compact Chinese Electric SUV | Carscoops

The Leapmotor A10 will compete with the BYD Atto 2 and a surge of electric B-segment SUVs in Europe.