The 10 Best Films of 2025
As we move into 2026, I’d like to take a moment to look back at my ten favorite films from the past year. In addition to the ten listed below, I saw two outstanding films at the Toronto International Film Festival (TIFF)—Nirvanna the Band the Show the Movie and Blue Heron. However, since they aren't scheduled for wide release until later this year, I’ve decided to exclude them from this list.
Furthermore, films like Marty Supreme, The Secret Agent, and The Mastermind received rave reviews last year, but I haven't had the chance to see them yet. I hope to catch them and share my thoughts with you later this year.
Sirāt
Directed by Óliver Laxe and starring Sergi López (Pan's Labyrinth), this film won the Jury Prize at last year’s Cannes Film Festival.
A father (Sergi López) and his son arrive at a rave deep in the mountains of southern Morocco. They are searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading, but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits.
The film is set against the backdrop of a rave party. The opening scene shows the organizer setting up speakers in a desolate desert and connecting them to a power source. The camera then focuses on the connected speakers, and powerful, thumping rave music begins to play. The camera shifts to capture the vast desert and cliffs, evoking a feeling reminiscent of 2001: A Space Odyssey, though the scene feels oddly juxtaposed. Following this, a rave party officially begins, with people dancing ecstatically. We don't know why they are so engrossed – is it just the music, or are they trying to escape their troubles and liberate themselves?
Luis (Sergi López) and his son Esteban (Bruno Núñez Arjona) later arrive at the rave party venue. This older and younger pair seem out of place among the crowd. They are there to find the missing daughter/sister, Mar. Since they are searching for Mar, they must hold onto some hope, but this film is ultimately about despair. The electronic, psychedelic music playing in the background serves as both the rave's soundtrack and the film's score, its pulsating bass creating a sense of unease and agitation throughout their journey.
At the beginning of their journey, Luis tells his son Esteban, "We shouldn't have come here." After the journey, this line resonates with even greater poignancy. The film's plot and twists are as shattering and impactful as the background rave music. The film concludes with another rave scene, where we finally seem to understand why they are so engrossed and lost in the moment. However, the film doesn't end there. Fate plays another trick on the characters, and the music shifts to sound like something from a video game. Is it possible that the characters' lives are just a game? One of them asks, "How did we get here?" Was it destiny? Luck? Through the journey of Luis and Esteban, a father and son, along with a group of strangers at the rave, the film witnesses the uncertainty of life.
One Battle After Another
The film is written and directed by Paul Thomas Anderson, who won Best Director awards at three major film festivals for his work on Punch-Drunk Love, There Will Be Blood, and The Master. Inspired by Thomas Pynchon's novel "Vineland," the movie stars Oscar winner Leonardo DiCaprio (The Revenant), two-time Oscar winner Sean Penn (Mystic River, Milk), Oscar winner Benicio del Toro (Traffic), Regina Hall (Scary Movie), singer Teyana Taylor, and Chase Infiniti (Presumed Innocent). Jonny Greenwood, Radiohead guitarist and frequent collaborator with Anderson, also composes the score. This film recently won Critics' Choice Awards for Best Picture, Best Director (Paul Thomas Anderson) and Best Adapated Screenplay (Paul Thomas Anderson).
Washed-up revolutionary Bob (DiCaprio) exists in a state of stoned paranoia, surviving off-grid with his spirited, self-reliant daughter, Willa (Infiniti). When his evil nemesis (Penn) resurfaces after 16 years and she goes missing, the former radical scrambles to find her, father and daughter both battling the consequences of his past.
Review: One Battle After Another: Revolution (IMAX 70mm Version)
The Voice of Hind Rajab
Directed by Kaouther Ben Hania, this film is based on a true story, centering on a Red Crescent volunteer's attempt to rescue a five-year-old girl, Hind Rajab, who was trapped in a car surrounded by Israeli forces. In the movie, a volunteer receives a distress call and, after repeated investigations, successfully contacts Hind. The film uses actual audio recordings, allowing the audience to directly hear Hind's real voice and pleas for help, making her cry for assistance feel immediate and heartbreaking. Through the volunteers' genuine perspective, the film depicts their efforts to communicate with Hind, a process filled with twists and turns that allow the audience to experience the volunteers' hope, helplessness, and despair in real-time. Although the film is based on a true story, and the audience may already know the outcome, hearing Hind's voice and witnessing the actors' performances still evokes feelings of anxiety, worry, and trauma.
In the film, the volunteers require approval from the Israeli military to arrange for an ambulance to reach the vehicle where Hind is located for a rescue. In one scene, one of the volunteers, to expedite the process, suggests publicizing relevant audio recordings and photos on social media to attract international attention. However, someone questions why, after more than a year of constant social media circulation of photos and videos of casualties, they believe this incident will finally garner public empathy. The director, through the medium of film, presents this heartbreaking event to the audience. The question remains: can it finally elicit public empathy?
Sinners
Written and directed by Ryan Coogler (Creed, Black Panther), this film features Michael B. Jordan in a dual role, marking another collaboration between the director and star. The powerhouse cast includes Hailee Steinfeld (Hawkeye), Miles Caton, Jack O'Connell (Unbroken), British Independent Film Awards Best Actress winnerWunmi Mosaku (His House), Jayme Lawson (Genius), Omar Miller (Ballers), and Delroy Lindo (Da 5 Bloods). The film was a major winner at the recent Critics' Choice Awards, taking home four honors: Best Original Screenplay (Ryan Coogler), Best Casting and Ensemble, and Best Score (Ludwig Göransson).
Trying to leave their troubled lives behind, twin brothers (Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.
“You keep dancing with the devil, one day he’s gonna follow you home.”
Review: Sinners: Before Sunset (IMAX 70mm Version)
The Testament of Ann Lee
Directed by Mona Fastvold, the writer of Golden Globe Best Film The Brutalist, who co-wrote the script with Brady Corbet, who won a Silver Lion for Best Director at Venice last year for The Brutalist. The film’s score is by Oscar winner Daniel Blumberg (The Brutalist). It stars Emmy Best Actress winner Amanda Seyfried (The Dropout), Thomasin McKenzie (Last Night in Soho), Lewis Pullman (Thunderbolts*), Stacy Martin (The Brutalist), Tim Blake Nelson (Captain America: Brave New World), Christopher Abbott (Wolfman), and Viola Prettejohn (The Nevers). The film premiered at this year's Venice Film Festival to good reviews, particularly for Amanda Seyfried's performance. I also saw the film at the Toronto International Film Festival (TIFF) and considers it one of the best films of the year, for its music and cinematography in particular.
Growing up in a large family, Lee was a child seemingly gifted at everything she tried, fiercely protective of her little brother and intensely devoted to her faith. As an adult, she met and married Abraham (Christopher Abbott), a fellow explorer of spirituality and ideas. Lee’s tragic loss of all her children in infancy or early childhood, along with her radically unique interpretation of scripture, transformed her into a fierce advocate for a more equitable and utopian society. Her beliefs become a policy adopted by her devoted followers, whose frenzied, ecstatic worship almost serves as a communal substitute for sexual activity.
This film chronicles the rise and fall of the Shaker movement, a religious sect that advocated for gender equality, with Ann Lee (Amanda Seyfried) as its female leader. Having experienced multiple child losses and profound trauma, she became the leader, attracting followers and growing the sect from Europe to the Americas. Beyond gender equality, the Shakers also promoted celibacy and communal living. Set over two hundred years ago, when society was much more conservative than today, the Shakers were undoubtedly seen as a radical faction. Consequently, they faced numerous hardships in the film, which served to highlight the devotion of their followers to their faith.
Amanda Seyfried's portrayal of Ann Lee deeply conveys her pain, struggle, and fervent devotion to her faith. A key characteristic of this sect is their music and dance, through which they worship and express their fervor, and these are central to the film. Daniel Blumberg, the Oscar-winning composer for The Brutalist, collaborated once again with director Mona Fastvold and writer Brady Corbet to create a spiritually resonant score and music for the film. Combined with dynamic cinematography and dance, it provides the audience with a sense of the followers' immersion and passion, delivering a powerful viewing experience.
Sentimental Value
Directed by Joachim Trier, the director of The Worst Person in the World, this film won the Grand Prix, the second-highest award, at last year's Cannes Film Festival and is considered a strong Oscar contender. The cast includes Renate Reinsve (The Worst Person in the World), Golden Globe winner Stellan Skarsgård (Chernobyl), Elle Fanning (the Maleficent franchise), and Cory Michael Smith (Saturday Night).
This film centers on a filmmaking family. Gustav (Stellan Skarsgård), the father, is a renowned director who hasn't made a new film in over a decade. His elder daughter, Nora (Renate Reinsve), is a celebrated stage actress, while his younger daughter, Agnes (Inga Ibsdotter Lilleaas), who acted in her father's films as a child, has stepped away from the industry to focus on her family. The story unfolds after Nora and Agnes's mother passes away, leading to a reunion with their estranged father, Gustav, and the subsequent events.
The film heavily emphasizes the family's history. Nora's family has lived in the same house for generations, with narration occasionally supplementing details about their ancestors' experiences. The title itself refers to the "sentimental value" of this house – Nora and Agnes grew up there, but it's also a place filled with shadows, as their parents argued and divorced within its walls. Although they moved away years ago, they seem reluctant to sell it, with Nora even wanting to keep some old belongings. Gustav plans to use this house as the setting for his new film, which will depict his late mother’s suicide there. Each family member harbors complex emotions towards the house and each other. Despite their differing life experiences and encounters, they share many commonalities, yet they focus on their disagreements and grievances, overlooking their shared experiences and emotional bonds. The script is exceptionally nuanced, exploring family relationships and complex human emotions through the daily lives of the characters and Gustav's process of preparing his new film.
The film's character portrayals are intentionally subtle. The characters are clearly filled with emotions and thoughts, but these are never explicitly stated. When Gustav discusses the script with actress Rachel (Elle Fanning), she repeatedly asks about the characters' motivations and thoughts, to which he simply replies, "What do you think?" Viewers, too, will likely find themselves contemplating the characters' inner lives, but the film offers no definitive answers, leaving room for audience interpretation. Underneath this subtle script, the actors' nuanced performances are crucial. Renate Reinsve, reuniting with director Joachim Trier, conveys a subtle sadness through her eyes and expressions alone. Her portrayal of a stage actress, including scenes of her performing on stage, is deeply moving, showcasing her captivating presence. Stellan Skarsgård's performance is, as always, brilliant; his mere presence commands attention. In typical Joachim Trier fashion, the film beautifully captures both the city and nature. Against these stunning backdrops, Renate Reinsve and Stellan Skarsgård's performances, complemented by Hania Rani's score, convey their characters' loneliness and melancholy even without dialogue.
Sorry, Baby
This film is written, directed by, and stars Eva Victor. It features a stellar supporting cast including BAFTA winner Naomi Ackie (The End of the F*ing World), Louis Cancelmi (A Murder at the End of the World), Lucas Hedges (Lady Bird), and John Carroll Lynch (The Trial of the Chicago 7).
Something bad happened to Agnes. But life goes on… for everyone around her, at least. When a beloved friend visits on the brink of a major milestone, Agnes starts to realize just how stuck she’s been, and begins to work through how to move forward.
Review: Sorry, Baby: Hope You Are Well
Presence
電影由《毒網》(Traffic)金像導演Steven Soderbergh執導，並由《侏羅紀公園》(Jurassic Park)系列編劇David Koepp創作。Steven Soderbergh去年在戲院推出了兩部電影———這部 “Presence”和《黑袋行動》(Black Bag)，並在秋季的影展推出另一部電影 “The Christophers”，十分多產。電影由《標殺令》(Kill Bill)主演女星Lucy Liu、《這就是我們》(This is Us)主演男星Chris Sullivan、Callina Liang、Eddy Maday、West Mulholland和《未成大器》(Uncut Gems)主演女星Julia Fox主演，講述一個家庭搬進了郊區的一棟住宅，並開始深信他們並非獨處於此。
Directed by Oscar Best Director winner Steven Soderbergh (Traffic) and written by David Koepp (Jurassic Park franchise), this film was part of an incredibly prolific year for Soderbergh. He released two films in theaters—this supernatural thriller and Black Bag—while also debuting a third, The Christophers, at fall film festivals. Starring Lucy Liu (Kill Bill), Chris Sullivan (This Is Us), Callina Liang, Eddy Maday, West Mulholland, and Julia Fox (Uncut Gems), Presence tells the story of a family that moves into a suburban house only to become convinced they are not alone.
This film offers an innovative take on the haunted house subgenre. While the entire movie takes place within a haunted residence, it isn't told through the eyes of the terrified inhabitants. Instead, it utilizes the perspective of the ghost—the camera itself acts as the spirit's "eyes." Initially, the audience might be confused by the ghost's behavior, motives, or identity. But as the story unfolds, the character becomes increasingly fascinating and even deeply moving. Since the protagonist is an invisible entity, it has no dialogue; the movie relies entirely on his observations of the residents' daily lives and interactions. Despite the lack of a physical form, the character maintains a powerful presence. You might wonder: can a haunted house story still be scary when told from the ghost's point of view? This film proves that sometimes, the ghost isn't the most terrifying thing in the room.
The Perfect Neighbor
This documentary is directed by Geeta Gandbhir. Using bodycam footage from dozens of police visits, The Perfect Neighbor bears witness to a tight-knit community navigating one neighbor’s relentless harassment. But her hostility takes a sinister turn when it escalates into a fatal crime.
Review: The Perfect Neighbor: More Authentic, More Profound
It Was Just An Accident
This film won the Palme d'Or, the highest honor at last year’s Cannes Film Festival. Iranian director Jafar Panahi had previously won the Golden Lion at the Venice Film Festival for The Circle in 2000 and the Golden Bear at the Berlin International Film Festival for Taxi in 2015. This new award makes him only the fourth director in history to win the top prize at all three major European film festivals. Panahi's films have been banned in Iran, and he was arrested by the Iranian government in 2010 and banned from filmmaking for 20 years, so this movie was made in secret.
Eghbal (Ebrahim Azizi), is heading home with his wife (Afssaneh Najmabadi) and daughter (Delmaz Najafi) when he hits a dog, killing the poor animal and destroying his engine. Seeking roadside assistance, he wanders into a warehouse. Here, a worker named Vahid (Vahid Mobasseri) spots him, and it's possible they are not meeting for the first time. Vahid’s life has been in shambles since his hellish time in prison, due to the actions of a torturer he calls Pegleg — and he thinks Eghbal is this man. While his impulse for revenge is swift-acting, doubt is sewn by his captive, and Vahid must seek out help from other survivors including Shiva (Mariam Afshari), a spitfire wedding photographer, and a bride named Golrokh (Hadis Pakbaten) who brings her groom (Majid Panahi) and their impetuous friend (Mohamad Ali Elyasmehr) along for the ride. Confronting the man they believe was a sadistic torturer, the group faces an ethical dilemma. What should they do now?
The film revolves around a group of people who were detained and abused due to wage disputes. While the theme itself is dark, involving the trauma and fear of the abused, the director presents it as a farce or a black comedy, incorporating satire of Iranian society, which prevents the film from becoming overly somber. The story itself seems absurd: a family's car breaks down, a passerby offers help, and that person's friend, upon hearing the car owner's limping gait, remembers a limping man who once detained and abused them. This leads to the man's kidnapping, which escalates and involves a larger group who experienced similar abuse. These protagonists have vastly different personalities and professions – some are naive, some calm, some impulsive. However, upon hearing the limping man's name, they all impulsively want to kill him. But they encounter a problem: the man denies being the abusive limping man, and they can't be sure. As a result, their agitation and arguments become comedic before the camera. After the farcical events, they finally discuss their experiences of abuse, allowing the audience to understand their intense reactions. Behind the laughter and jokes lie very dark memories.
Through this absurd kidnapping scenario, the director allows the audience to see the impact of detention on dissidents and the different perspectives on revenge. Some believe in striking back with violence when the opportunity arises, seeing the regime and abusers as unyielding. Others think this plays into the regime's hands, wanting them to become as brutal and lose their kindness and compassion. Still others worry that the entire situation is a trap set by the regime. Regardless, these are all chains imposed by the regime, stemming from the hatred, fear, and trauma of detention and abuse. From the moment they were detained, their lives changed, and they lost control of their thoughts and their lives.
The first half of the film is laugh-out-loud funny, the middle section is full of moral contemplation, and the ending echoes the theme with a chilling resonance. It's a fascinating journey that is both bizarre and deeply relevant to today's society, offering audiences entertainment and laughter while also prompting reflection. By the end, the conclusion leaves a significant suspense, leaving us uncertain of the protagonist's fate, but knowing he has not yet escaped this shackle, still easily pulled back into painful, terrifying memories. Perhaps this intangible fear is the greatest weapon of an authoritarian or dictatorial government. Whether one has been abused or never detained, under such fear, no one can truly enjoy freedom.
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Photo and Source: Elevation Pictures, Warner Bros. Pictures, Mongrel Media, 20th Century Studios, VVS Films, Netflix