Year in Review: The Best Films of 2025

As I walked out of the New York Film Festival back in the fall, I knew I could easily develop a top ten list upon the festival because I knew just about everything notable was playing there and I was very fortunate to catch these great films at the festival. Happily, a few other films came through in the last few months, and there were a few other underrated gems that I wish got more praise, like The Smashing Machine. There are also so many other highly enjoyable films that didn’t quite make the cut, including Blue Moon, Die My Love, Jay Kelly, The Long Walk, Magellan, Roofman, Wake Up Dead Man, and The Phoenician Scheme. Meanwhile, Sentimental Value and Hamnet, were two films that deeply explored the healing power of art, certainly help influence this year’s theme. These films also were about families in crisis finding a catharsis, in which, in many ways, Paul Thomas Anderson’s One Battle After Another explores these themes as well. We are in a time where artists are creating real, relevant films that are not only just products of their time or era, but we are in a timely era where artists are understanding that these crucial issues will indeed be one ongoing battle after another, and it’s essential that artists continue to stay bold and fearless in our current milieu.

The best films of 2025 were not left neglected either, or I have more hope in audiences as I see more engagement on independent films than I ever have before. Sure, many will continue to just go see the big movie of the week or month, but more and more audiences are tuning into the essential films of today, and many audiences gravitated to these films, and seeing these films finding wider audiences is refreshing. While it was a heartbreaking year at the movies where many acting and directing legends such as Gene Hackman, Diane Keaton, Val Kilmer, David Lynch, Michael Madsen, Robert Redford, and Rob Reiner passed on—their work and contributions to art and society will forever live on,  At least we have great films, from the past and present to carry us through our cinematic and personal mourning, and 2025 accomplished just that.

Down below I compiled a list a top 10 best list, an alternative top 10 list, and 10 honorable mentions with my top 5 docs. Here are the best films of 2025:

Courtesy Warner Bros.

1. One Battle After Another (d. Paul Thomas Anderson)

Renowned filmmaker Paul Thomas Anderson’s engrossing One Battle After Another is a politically charged thriller about combating cruelty, oppression, and power. It also examines the struggles of the revolutionary lifestyle. His 10th film is an extraordinary feat of suspense and character, powered by gripping storytelling, astonishing craftsmanship, and remarkable ensemble acting. This could possibly be his magnum opus and most ambitious endeavor yet. Not only is One Battle After Another the film of the year, its possibly the defining film of this decade thus far.

Courtesy A24 Films

2. Marty Supreme (d. Josh Safdie)

Josh Safdie’s first solo directed film away from his brother Benny, titled Marty Supreme is one electrifying piece of cinema. It’s a game changer in the sports movie genre. It’s a raucous rollercoaster that has elements of a caper movie and a gritty crime drama without ever feeling jarring or inconsistent. It evokes an experience of pure adrenaline with another masterful score by Daniel Lopatin. Safdie also takes the Sofia Coppola approach she utilized in Marie Antoinette by incorporating 80s new wave that indifferent to the early 1950s period takes place in. Safdie’s direction is speedy, resulting in a reverberant style, with a billowing sense of setting and pacing. The energy comes at you like a ping pong, leaving you feeling a sense of whiplash and eventually empathy for Marty’s pursuits. The film has a brilliant third act and a genuine payoff that is earned; it comes at you with a large wave of feeling. This is a sensational film; one that shows what happens when you turn ambitions into reality.

Courtesy Neon

3. Sentimental Value (d. Joachim Trier)

One of the most emotionally charged films of the year is also one of the most rewarding. Joachim Trier’s Sentimental Value might appear to be another backstage drama about filmmaking that becomes meta, but at its core is an emotionally rich family drama with some touches of humor along the way. Trier, a Norwegian director who is celebrated for his Oslo trilogy that consists of Reprise, Oslo, August 31st, and the widely celebrated The Worst Person in the World, has now found his greatest accomplishment to date.Sentimental Value holds layered themes that are always intricate. It never gets bogged down with too much melodrama, and it never feels uneven; each character’s subplots are seamless and fleeting. Trier explores many elements in his framework here: What defines family? What defines acting and filmmaking? Is there a healing power to cinema? Why are families so intricate and complicated? Why are film directors so self-absorbed? What do we do to make amends? Why do some siblings forgive the pain their parents create more than others? In the film, it ponders a lot of questions, and Trier ignites the human drama throughout.

Courtesy Neon

4. It Was Just an Accident (d. Jafar Panahi)

Iranian master filmmaker Jafar Panahi returns with his greatest film to date in his impressive filmography, It Was Just an Accident, a dramatically charged and timely political thriller that is courageous and bold as it takes deep commentary on Iran’s authoritarian regime. This is a film that Panahi had to discreetly make in secret in Iran, after being under house arrest after making numerous films that are deemed subversive against the Iranian government. Jafar Panahi is so condemned by the Iranian Iran’s government that he even has to direct films remotely from his home, and they are filmed discreetly. Panahi is at such a risk of getting undermined that he even has to hire French producers to get the film greenlit as a French production to submit it as Best International Film, as there is no way Iran would submit his films in that category. Despite all these challenges, Jafar Panahi, in return, has crafted a gripping film that is very combative against Iran’s tyranny.

Courtesy A24

5. Sorry, Baby (d. Eva Victor)

Sorry, Baby, the debut film by its writer and lead female actor is a film that is a lot to process emotionally. This film will be very personal for many viewers as well. It’s an honest look at trauma and what it does to our psyche, coming from a fresh voice whose first film feels like the work of a seasoned veteran. The film finds a disarming sorrow, but there is a lot of joy to be found as well. Sorry, Baby takes a little more to unpack than Promising Young Woman or Never Rarely Sometimes Always, probably due to the structure and the powerfully moving final scene that reminded me of a Robert Bresson or Dardennes ending. While Sorry, Baby is released in these Trumpian times, where victims who speak out are considered “woke,” and many people downplay sexual assault, and even worse, when a small majority of people hijack genuine movements to weaponize the movement for their own personal vendettas, or even for their own narcissistic gain, Sorry, Baby plows through all of that as Victor’s vision generates a reflective film that examines trauma and the human complexities that circle around it. Between the ethereal score by Lia Ouyang Rusli, the luminous cinematography by Mia Cioffi Henry, and Victor’s incredible writing, direction, and performances, this is a cinematic poem about enduring affliction, and it’s an unflinching portrait of the disconnection, alienation, and suppressed emotions of human trauma.

Courtesy Focus Features

6. Hamnet (d. Chloe Zhao)

Oscar winning filmmaker Chloe Zhao’s fith feature is a staggering portrait of grief and of the redemptive power of art filled with joy and sadness, and it’s undeniably shattering. It will be difficult for any parent to watch this film, but it’s not an exercise in despair. The film focuses on Shakespeare’s inspiration and the execution of his renowned play Hamlet. Most importantly, it’s his tribute to his lost son, where he aims to seek atonement with Agnes as their marriage is in crisis from the recent tragedy. Hamnet is a tale of marriage, love, and loss, and like Sentimental Value, it shows how personal experiences can lead to great art that can attempt to recompense trauma. A soul-crushing and emotionally stirring portrait of the redemptive power of art. Like Nomadland, this is a touchstone in modern American cinema.

Courtesy Neon

7. The Life of Chuck (d. Mike Flannigan)

Just when I was about to write it off, writer-director Mike Flannigan makes the emotional payoffs work with deep resonance in this Stephen King adaptation. This is indeed a film that ponders questions, but it’s also filled with joy. It can even be life affirming to some audiences. It;s a deeply existential depiction of life outside and inside of ourselves: complex, honest, but never losing the sense of hope in how humans must not take things for granted and to capture those small channels of joy as we are all part of this universe. Mike Flanagan asks deep questions on what is the value of human life and our own existence? And why are we so keen in allowing pessimism to keep us down as time continues to fleet in metaphysical ways. This is certainly a movie we need right now as we continue each day with despairing “uncertainties” that are inevitable. It’s a deeply poignant film that moved me to tears a few times. This is Flannigan at his wisest and most mature.

Courtesy Neon

8. No Other Choice (d. Park Chan-wook)

Park Chan-wook’s latest film titled “No Other Choice” is his greatest achievement yet. It’s part social satire, part absurdist dark comedy, part Hitchcockian thriller, and always a masterpiece. Aside from the outstanding craftsmanship with many innovative shots in the film, the movie is smartly paced and so expertly mounted in every way. Most of all, it delivers biting satire on modern day capitalism. It covers the extreme depths and desperation of what one family man (Lee Byung-hun) in an astonishing performance) will go to uphold his family’s livelihood. This is all done with sheer brilliance and edge.

Courtesy Janus Films

9. Caught by the Tides (d. Jia Zhangke)

Director Jia Zhang-Ke once again explores the passage of time and its changes in how humans interact due to cultural and technological changes with Caught by the Tide. Like Richard Linklater’s Boyhood, Zhang-Ke uses footage he shot in previous years dating back to his treasured international art-house classics from his 2001 film Unknown Pleasures and his 2006 celebrated masterwork Still Life. Of course, Zhang-Ke’s muse and regular Zhao Tao (Ash is Purest White) appear throughout the 20-year span of the film, using deleted scenes and unused footage from Unknown Pleasures and Still Life. Zhang-Ke is able to build these unused scenes that would be illogical in lesser hands into something logical as he organically pushes disconnected scenes into something cohesive. The result is another existential work of art from Zhang-Ke, one that isn’t driven too much by plot but by cohesive themes and an observation on how much China has changed in the course of 25 years.

Courtesy Warner Bros.

10. Superman (d. James Gunn)

Finally, a great Superman movie that we have long been waiting for since the beloved Richard Donnor films that starred Christopher Reeve. The new relaunch helmed by James Gunn in which he also directed expertly captures the tone of the iconic Superman comics with modern sensibilities, sharp wit, some thoughtful commentary, and, of course, many spectacular set-pieces. By avoiding the mundane origin story buildup, Gunn explores the realms of Superman’s mythology and immerses us right into a world of an established Superman and other superheroes with the human vulnerabilities of his powers, responsibilities, and being outmatched by his arch-nemesis Lex Luthor (Nicholas Hoult). Gunn’s skill is his passion and spirit. He understands comics and knows how to deliver grandiose entertainment with heart. There is a great exchange where Lois Lane (Rachel Brosnahan) gets to interview Superman through Clark Kent where they have a heated argument about the conundrums Superman is faced with being a hero. There is another great scene where Lex Luthor uses media manipulation to turn the public against Superman, bringing more humanity to the material. It’s great to have exuberance with equal amount of grace at the movies again. The result is breathtaking and ranks up there Sam Raimi’s Spider-Man 2 and Christopher Nolan’s The Dark Knight. 

Runners-Up/Alternative Top 10 (In Alphabetical Order)

Courtesy Sony

28 Years Later (d. Danny Boyle)

28 Years Later is the third zombie film of the “28” zombie film series, and it marks a return by legendary filmmaker Danny Boyle (28 Days Later, Slumdog Millionaire) and screenwriter Alex Garland, who both helmed the masterpiece 28 Days Later, which was followed up in 2007 with 28 Weeks Later which was directed by Juan Carlos Frendadillio (Intacto). A viewing of 28 Years Later is an intense experience, filled with gasps, discomfort, and eventually moments of disquieting silence where you will rarely blink. I can’t wait to see where filmmaker Nia DaCosta does with the material in 28 Years Later: The Bone Temple 

Courtesy Focus Features

Bugonia (d. Yorgos Lanthimos)

Yorgos Lanthimos often explores mental health themes by depicting characters struggling with isolation, control, and the absurdity of societal norms. Dogtooth demonstrated the psychological distress that is inflicted on children who are isolated and brainwashed by their parents, who shelter them from the outside world. And The Lobster, The Killing of a Sacred Deer, and Poor Things are all brilliant pieces of cinema that explore human control and liberating oneself from authority. Bugonia continues this artistic momentum, confirming that he is one of the most fascinating filmmakers of our era. This is a very complex film about power dynamics and a warning that continuous cruelty and oppression in society can cross a line into increased isolation and complete chaos.

Courtesy A24

Eddington (d. Ari Aster)

Courtesy Netflix

Frankenstein (d. Guillermo Del Toro)

Wintry, chilling, and captivating, Guillermo Del Toro’s adaptation of Mary Shelley’s Frankenstein is a breathtaking retelling of the classic two-century-old novel; it’s a horror movie that feels Shakespearian in just how dramatically charged it is. The film also has so many macabre moments, but the emotional center is Del Toro’s focus, and he prevails with Frankenstein. The true showcase performance of the film is Jacob Elordi; coming off from being cast as Elvis in Sofia Coppola’s Priscilla, he has the perfect physique and emotional range that gives the Frankenstein Monster such an emotional center. It’s certainly in piece with other Del Toro films like The Shape of Water and Pan’s Labyrinth. Del Toro has always been drawn to the dark and macabre, but he always brings an emotional core to movies that end up becoming more engaging than scary. A viewing of Frankenstein might divide horror fans who are looking more for the horror, but Del Toro’s brings a human longing and shimmers of hope to the stunning material. Overall, Del Toro’s handling of the classic source material is haunting, patient, engaging, and unflinching.

Courtesy A24

If I Had Legs I’d Kick You (d. Mary Bronstein)

Actress and filmmaker Mary Bronstein who is the wife of frequent Safdie Bros collaborator Ronald Bronstein (Uncut Gems, Marty Supreme) directs her first film since her 2008 film Yeast, that co-stars Greta Gerwig. Based on Bronstein’s own life experiences both as a mother and a therapist, Bronstein’s sophomore feature is a remarkable achievement, a dizzying, honest portrait of motherhood in the modern age. It tells the story of Linda (Rose Byrne), whose daughter we always hear off screen has a mysterious illness who must be fed through a tube each night as she has a severe aversion to food. This creates a lot of anxiety for Linda due to the demands and uncertainty of her daughter’s condition.  The work Bronstein does with Rose Byrne pushes the bounds of screen acting as this is the most emotionally raw and wrenching performances I’ve seen since Mikey Madison in Anora. Byrne plays a wife and mother who is way past the realms of a nervous breakdown. Bryne’s wrenching performance is for the ages.

Courtesy Janus Films

Resurrection (d. Bi Gan)

The only problem with Bi Gan’s Resurrection is that it plays out in six-acts and as just knowing from previous experience, you know he’s going to end the final act with a bang and it’s going to be staged all in one long take as he did in with his 2018 masterful Long Day’s Journey Into Night (which made my 2019 list), and now Bi Gan is becoming legend in the art-house crowd. Anything compared to his style and that doesn’t meet these criteria will feel like it comes up short. That, plus not all of the chapters in this qutie work as it takes the Jean-Luc Godard Pierrot Le Fou approach of toying around with various film genres in one film. But it’s still one of the most jaw-dropping cinematic experiences of the year, a movie with so many ideas and approaches, inventive moments, with a grasp of dreamlike imagery, time, space, and a love letter to dreams and cinema. Bi Gan is now positioning himself as a master, and I can’t wait to see what Gan has in store in the future.

Courtesy Neon

The Secret Agent (d. Kleber Mendonça Filho)

Most spy movies are overwhelmed with severe plotting and are multi-layered with an objective amount of espionage that often contains double-crosses, betrayal, and twists and turns. Brazilian filmmaker Kleber Mendonça Filho, who helmed the instant cult classic Bacurau and Neighboring Sounds, certainly rehashes these elements in his latest engrossing political thriller titled The Secret Agent, but Filho also subverts them with a 70s grindhouse style that consists of dark humor, satire, and a rich atmosphere with its visually pleasing aesthetics and Brazilian locales.

Courtesy Warner Bros.

Sinners (d. Ryan Coogler)

Courtesy A24

The Smashing Machine (d. Benny Safdie)

Sadly, the Oscar buzz for Dwayne Johnson’s transformative performance here has dwindled away due to low box-office performance, but this is a film that I hope will be rediscovered as time marches on due to just how emotionally raw and well-crafted it really is. The film is so emotionally rich, and the real strength is how Johnson proves he can embody characters that can surpass his action hero archetype traits. Johnson shoes true vulnerabilities here, certainly a gentle giant to the outside world that can switch into a beast on the ring. His performance as UFC fighter Mark Kerr is both unrelenting and poignant. His real battles come outside the ring as he deals a severe opioid addiction which leads him having marital issues with his caring wife (Emily Blunt), and volatile anger. For The Smashing Machine, it also channels some of the more impressive sports movies like Raging Bull, The Wrestler, Foxcatcher, and The Fighter, but it still feels fresh it is as raw, and as potent, as ever, and writer director Benny Safdie in his first solo film feature away from his brother Josh (see Marty Supreme above) once again showcases its visceral power that was captured so effectively in Uncut Gems and Good Time.

Courtesy Warner Bros.

Weapons (d. Zach Cregger)

It’s a quintessential supernatural horror brought to life by a new horror master showing he’s already on top of his craft in his follow-up to Barbarian, and it deserves a place on the pantheon of being an instant horror classic. Between Weapons, Sinners, and 28 Years Later, 2025 is already proving to be a monumental year for horror. The film holds a chilling build-up that hooks you like a great Stephen King novel, and it unfolds with the craft of John Carpenter with some visual slickness of P.T. Anderson. There are grueling shocks, and I loved just about every moment of this unpredictable horror film, stylishly assembled and populated with many memorable characters. Especially Amy Madigan as Aunt Gladys who delivers a memorably sinister performance that made my skin crawl. Oh, and how about those Naruto style runs and that David Lynch inspired dream-sequence Josh Brolin has?

HONORABLE MENTION (In Alphabetical Order)

The Baltimorons (d. Jay Duplass)
Father Mother Sister Brother (d. Jim Jarmusch)
Grand Tour (d. Miguel Gomes)
Highest 2 Lowest (d. Spike Lee)
Materialists (d. Celine Song)
Nouvelle Vague (d. Richard Linklater)
The Shrouds (d. David Cronenberg)
Sirat (d. Oliver Laxe)
Sound of Falling (d. Mascha Schilinski)
The Testament of Ann Lee (d. Mona Fastvold)
Thunderbolts* (d. Jake Schreier)

Top 5 Documentaries

1. The Perfect Neighbor (d.Geeta Gandbhir)
2. Cover-Up (d. Mark Obenhaus and Laura Poitras)
3. Afternoons of Solitude (d. Albert Serra)
4. Predators (d. David Osit)
5. The Alabama Solution (d. Andrew Jarecki and Charlotte Kaufman)