Favorite Movies of 2025
Some Notes Regarding 2025
Is American cinema dead? If not, it’s certainly dying. It was a phenomenal year for movies, just not if you were only looking at the “big five” studios (soon to be four?). Cinema seems to be going the way of book publishing, in which cheap genre fare is king, and the great literary novels (i.e., the mid-budget dramas) are far and few between. And while I’m not sure we’ve yet reached a New New Hollywood, or whatever that might be for this current era (Marty Supreme can you save us?), I think for the next few years, we’re going to be seeing more international films gain prominence stateside. And when everybody’s watching everything with subtitles anyway, what difference is it going to make?
I mean, look at the Oscar slate this year, where it’s not a matter of which international feature is making it into the best picture lineup, but rather how many. Personally, this is what I’ve thought the Oscars should be for a very long time, so I’m glad this expanded, younger academy is giving us a more accurate picture of the year in film (though still not perfect, of course). And moving the ceremony to YouTube is one of the smartest things the Academy has done, allowing for those of us without a cable TV package, and especially for those outside of the United States, easier access to the broadcast. I only wish they weren’t waiting until 2029.
The truth is, there just aren’t enough American movies being released to fill theaters anymore. Looking at my own list, in the top 50, I’ve only included a few true Hollywood films, whereas most of the American movies are independent productions, alongside features from Argentina, Australia, Belgium, Brazil, Canada, China, England, France, Germany, Iran, Italy, Japan, Mexico, Norway, Portugal, Romania, South Africa, Spain, and Vietnam. And frankly, my list is better off for it.
At the top of my list is Giovanni Tortorici’s brilliant, Diciannove, a movie that feels as though it were made specifically for me. It’s the story of a literature student who is kind of depressed and realizes that maybe he’s also kind of gay. Produced by my beloved Luca Guadagnino, the film is edited in a truly contemporary style and stars the divinely handsome Manfredi Marini. If Luca ever ends up making his adaptation of Separate Rooms, I think Marini should certainly play the lead!! I know Diciannove has been somewhat polarizing, but it’s the film that excited me the most this year. I laughed, I cried, I was horny, and it’s the kind of debut feature we only get once every few years.
This year we were also blessed with another film by Philippe Lesage, his first since Genèse in 2018. Who by Fire is perhaps the movie I’ve recommended to the most people this year, and while structurally it’s rather unconventional—several long, one-take dinner scenes serving as emotional checkpoints for the characters in this 155 minute story about cabin fever—it’s got a performance by Noah Parker that keeps you invested from start to finish. It goes by so quickly, and even when rewatching, I’m still on the edge of my seat. Slowly but surely, it starts to feel like you’ve got a fever too.
Number three on my list is yet another film by Wes Anderson that has been ignored by critics, the Academy, and the general public. I find The Phoenician Scheme so profoundly moving, and especially the film’s ending, a moment of quiet grace (perfectly scored with Bach’s “Jesu, Joy of Man's Desiring“). The film is posturing as this dense work about bureaucracy and religion and industry, but it’s actually quite simple and elegant. It’s about a man finding peace within himself, loving his chosen family, and leaving something good behind. I feel everybody is undervaluing this run that Wes is on—this film preceded by The French Dispatch and Asteroid City—but I really do think this is the most important (and best) work of Wes’ career.
Number four on my list is Trương Minh Quý’s stunning Việt and Nam. Shot on Super 16mm by Son Doan, this whole movie feels like a lucid dream, and it concludes with one of the most surprising shots I’ve seen in a very long time—I literally gasped in the theater. It’s deeply political in ways that I’m still unpacking, but I was surprised by how much this one has stuck with me since I first saw it back in April.
Rounding out my top five is Michel Franco’s Dreams, a film that I’ve now seen three times, and which plays so incredibly well with an audience. We selected Dreams for the New Hampshire Film Festival this year and it was so exciting hearing people react to the film—both during the gratuitous sexual scenes and the moments of intense violence. Franco makes harsh, controversial films that I think get overlooked because people just chalk him up to being a nihilist, but there’s more going on here than people are giving it credit for. I think, like Franco’s New Order from 2020, Dreams is going to age incredibly well.
Beyond that, I’ve included Bi Gan’s remarkable Resurrection (which I think should have won the Palme d’Or), Marty Supreme (which proves that Josh has the juice and Benny doesn’t), One Battle After Another (with its 40 minute “prologue” which I feel is some of the most dynamic and exciting work in Anderson’s filmography), Hard Truths (justice for Marianne Jean-Baptiste who should have won the Oscar back in March), The Room Next Door (god bless Isabelle Huppert and the Venice jury for correctly awarding this the Golden Lion), Peter Hujar’s Day (another banger from the underappreciated Ira Sachs), Dracula (the first Radu Jude movie that I’ve outright loved, which is funny considering how annoying it is), Woman and Child (absolutely devastating with a shocking dramatic turn halfway through, and it’s funny that this also premiered at Cannes alongside Sirāt), The Shrouds (a surprisingly difficult film that I haven’t been able to stop thinking about for nearly eight and a half months), and After the Hunt (which audiences are being willfully obtuse about and deserves more than two seconds of thought to really get at what Luca is trying to say).
Some of my other favorite things from this year include:
Every facial tick, gesture, and vocal choice that Denzel makes in Highest 2 Lowest. I admit, he should have been on my best actor list, and probably should have won, but for me the highlights this were the younger guys. Sorry!
Josh O’Connor in The History of Sound, The Mastermind, Wake Up Dead Man, and Rebuilding—2025 was HIS year.
Autumn Durald Arkapaw’s handheld 16mm photography in The Last Showgirl which is so fucking warm and gorgeous. It really is the star of the show (but Pamela Anderson is good too!)
All of the cute boys playing famous filmmakers in Nouvelle Vague. Thank you to Richard Linklater and his casting director!
The sound design in Sound of Falling, which really must be heard in a theater so you can feel it. It’s overwhelming.
The way Steven Soderbergh gently lit the dinner scenes in Black Bag. Luscious! I want to live in that townhouse!
I know I gave him my best actor prize, but Malik Frikah really is France’s response to Timothée Chalamet, and I think (hope) he’ll be going on to do great things in the years to come!
Sayombhu Mukdeeprom and his section of Grand Tour. A true master.
If you want to see the full, ranked list of all 290 films I watched in 2025, you can find that here.
Best Actor
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Billy Barratt
Andy in Bring Her Back
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Lou Goossens
Elias in Young Hearts
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🥇 Carlo Krammling
Gabo in No Dogs Allowed
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Guillaume Marbeck
Jean-Luc Godard in Nouvelle Vague
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Manfredi Marini
Leonardo Gravina in Diciannove
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🥈 Lee Pace
Elliot in After This Death
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Noah Parker
Jeff in Who by Fire
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Théodore Pellerin
Matthew in Lurker
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Eloy Pohu
Enzo in Enzo
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🥉 Ben Whishaw
Peter Hujar in Peter Hujar's Day
Best Actress
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🥉 Aurélia Arandi-Longpré
Aliocha in Who by Fire
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Cate Blanchett
Kathryn St. Jean in Black Bag
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🥈 Jessica Chastain
Jennifer McCarthy in Dreams
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Ester Expósito
Andrea in The Wailing
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Parinaz Izadyar
Mahnaz in Woman and Child
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🥇 Marianne Jean-Baptiste
Pansy in Hard Truths
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Noémie Merlant
Emmanuelle in Emmanuelle
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Julianne Moore
Ingrid in The Room Next Door
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Julia Roberts
Alma Imhoff in After the Hunt
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Mia Threapleton
Liesl in The Phoenician Scheme
Best Supporting Actor
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🥈 Michael Cera
Bjorn in The Phoenician Scheme
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🥉 Benicio Del Toro
Sensei Sergio St. Carlos in One Battle After Another
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Aidan Delbis
Don in Bugonia
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🥇 Malik Frikah
Clotaire in Beating Hearts
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Jacobi Jupe
Hamnet in Hamnet
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Sinan Mohebi
Aliyar in Woman and Child
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Josh O'Connor
David in The History of Sound
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Kevin O'Leary
Milton Rockwell in Marty Supreme
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Michael Stuhlbarg
Frederik Imhoff in After the Hunt
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Jeffrey Wright
Paul Christopher in Highest 2 Lowest
Best Supporting Actress
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Michele Austin
Chantelle in Hard Truths
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Oona Chaplin
Varang in Avatar: Fire and Ash
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Matilda De Angelis
Roberta in Fuori
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Xu Haipeng
Didi in Blue Sun Palace
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🥈 Inga Ibsdotter Lilleaas
Agnes Borg Pettersen in Sentimental Value
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Havana Rose Liu
Shai in Lurker
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Wunmi Mosaku
Annie in Sinners
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🥉 Gwyneth Paltrow
Kay in Marty Supreme
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Sissy Spacek
Pam in Die My Love
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🥇 Teyana Taylor
Perfidia Beverly Hills in One Battle After Another
Cutest Boys
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Magnus Juhl Andersen
Johan in Sauna
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Joe Apollonio
Justin in Magic Farm
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Théo Augier
Guillaume in Jay Kelly
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Paul Beaurepaire
Lucas Tessier in When Fall Is Coming
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🥉 Alessandro Bedetti
Vincent in The History of Sound
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Darío Yazbek Bernal
Alejandro in Pet Shop Days
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Mathis Bernard
Jean-Yves Bretin in Holy Cow
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Samuel Bottomley
Brian Stoker in Anemone
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Jordan Dulieu
Danny in The Serpent's Skin
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🥇 Spike Fearn
Casey in Ella McCay
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Florian Geißelmann
Rainer in Sound of Falling
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Ashby Gentry
Joey in Mooch
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Nicholas Hamilton
Nathan Williams in Brave the Dark
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Lucas Hedges
Gavin in Sorry, Baby
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Brady Hepner
Max Van Helsing in Abraham's Boys
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Barry Keoghan
Jack in Bring Them Down
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Kieron Moore
Aaron Eagle in Blue Film
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🥈 Edvin Ryding
Erik Sundqvist in 28 Years Later
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Axel Shuarma
Marco in Demons at Dawn
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Andrija Žunac
Slaven in Sandbag Dam
Favorite First Watches
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🥇 Ran (1985)
dir. Akira Kurosawa
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🥈 The Swimmer (1968)
dir. Frank Perry
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🥉 The Best Intentions (1992)
dir. Bille August
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The Shepherd of the Hills (1941)
dir. Henry Hathaway
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In Harm's Way (1965)
dir. Otto Preminger
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The Parallax View (1974)
dir. Alan J. Pakula
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The Year of Living Dangerously (1982)
dir. Peter Weir
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Terrorizers (1986)
dir. Edward Yang
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Drowning By Numbers (1988
dir. Peter Greenaway
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The River (1997)
dir. Tsai Ming-liang
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Hud (1963)
dir. Martin Ritt
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Norma Rae (1979)
dir. Martin Ritt
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Mommie Dearest (1981)
dir. Frank Perry
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O.C. and Stiggs (1987)
dir. Robert Altman
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On the Beach (1959)
dir. Stanley Kramer
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The Sheltering Sky (1990)
dir. Bernardo Bertolucci
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How the West Was Won (1962)
dir. Henry Hathaway, John Ford, George Marshall
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Last Summer (1969)
dir. Frank Perry