Rosalie's Favorite Movies of 2025

by Rosalie Lewis

“Maybe you will be the one who puts the world right.”

What kind of year did you have in 2025? I had the kind of year where I wasn’t sure if I should permanently curl into the fetal position or permanently install myself on the nearest street corner with my fist in the air. I felt an urgency to every moment of joy because it felt defiant to even feel joy some days. The words Gil Scott-Heron wrote in 1981 seem truer than ever:

“Racism is up, human rights are down
Jobs are down, money is scarce
And common sense is at an all time low with heavy trading
You don't need to be in no hurry
And you ain't never really got to worry
And you don't need to check on how you feel
Just keep repeating that none of this is real
And if you're sensing that something's wrong
Well, just remember that it won't be too long
Before the director cuts the scene.”

That’s why the movies that broke through the barriers of reality and glibness and commercial rot felt extra special, I guess. Here are my top 15 (plus some honorable mentions).

15. What We Hide (Kanopy/Tubi) directed by Dan Kay

Spider and Jessie are sisters (played by McKenna Grace and Jojo Regina) living in a sprawling, run down house in a rural community. When their mother dies of a drug overdose (not a spoiler—this happens in the first scene), Spider swears her little sister to secrecy. Their experiences with social workers haven’t impressed them much, and Spider’s certain that if they enter the foster system they’ll be split up and sent to different families. So they hide Mama in a shed and try to carry on like normal—she wasn’t very motherly anyway. How hard could it be? Let’s just say this is no Don’t Tell Mom the Babysitter’s Dead, and while Spider may be right on top of that, Rose, she has quite a few obstacles to clear if this plan is going to succeed.

It's not quite at the level of a Winter’s Bone, but definitely feels like a shared cinematic universe. McKenna Grace reveals grit and emotional depth I didn’t realize she was capable of, and it’s impossible not to root for these girls even while you hope that some adult will realize what’s happening and step in to help.

14. Belén (Prime) directed by Dolores Fonzi

This Argentinian legal thriller, based on true events, tells the story of a young woman who goes to the hospital with stomach pains and ends up in prison for multiple years. The reason for her arrest? It’s unclear whether she had an accidental miscarriage or intentionally caused it, and the legal system is stacked against her either way.

In addition to her directorial duties, Dolores Fonzi also co-wrote and stars in this movie as the attorney determined to find justice for not just this woman, but the countless women disenfranchised from their own bodily autonomy by laws and courts. I’m a sucker for a legal thriller, especially one with a cause that feels so relevant to these times. Plus, it takes place in 2014 so you get a bonus Gangnam Style dance sequence thrown in for free!

13. On Becoming a Guinea Fowl (HBO Max) directed by Rungano Nyoni

Some people might have seen this in 2024 when it premiered at festivals and in the UK, but technically it wasn’t released in the US until March of 2025 so I’m counting it. This movie astonished me in the best way. I’m going to give you the premise and you’re going to think it’s depressing, but I promise you it’s going to bring out so many emotions including laughter. Please seek it out.

So. Shula (Susan Chardy) is driving home after a party still in her Missy Elliott costume when she notices a body in the road. She recognizes it as her Uncle Fred. Even at that moment, you can see the exhausted look cross her face. We won’t fully understand her reaction (or lack thereof) until later, but trust me—it’s warranted. The rest of the movie takes place during the multi-day traditional Zambian funeral for this man, which involves a lot of labor—emotional and otherwise—by the women of the community. We also glean information about the deceased through snippets of conversation, elliptical memories floating just out of reach, and incontrovertible observations.

Rungano Nyoni, who also wrote the film, tapped into her Zambian roots and did lots of research to get the details right. She spoke in an interview for RogerEbert.com about her experience of funerals in Zambia, saying, “It takes a toll on you. So often, you make inappropriate jokes and you’re locking yourself in a pantry and talking smack about someone. These funerals tend to be a place where people convene to gossip. It sounds awful, but I think because in Zambia funerals are for people who are living, not for the dead.”

The humor definitely comes through in addition to the surreal and rage-inducing scenes. Nyoni explained that she never wants her films to “feel like anthropology, or like a National Geographic version of the film.” The camera is observant, lingering on facial expressions and giving us enough information to draw our own conclusions. I can’t wait to see what this filmmaker does next.

12. Sorry, Baby (HBO Max) directed by Eva Victor

Confession: I saw a promo photo for this movie with Eva Victor’s character holding an adorable cat, and I just assumed that something bad might befall the cat, so I put off watching this acclaimed movie for several months. Finally, so many people had raved about the movie that I decided to check DoesTheDogDie.com (which also tells you if the cat dies, or any animal really) and THE CAT IS FINE! NOTHING BAD HAPPENS TO THE CAT! I have since learned that the cat is played by two kittens, and they enticed the kittens to stare adorably into Eva’s eyes by smearing chicken paste on her face. (This is a sacrifice I would also be willing to make for cat affection.)

So, this movie is really good, as you have probably heard or possibly even seen for yourself. Eva plays Agnes, a postgrad who lives in a small college town and loves their best friend (Naomi Ackie) even though that friend is now long distance and settling into parenthood with a partner. The movie slips between past and present at times, slowly letting us in on a painful violation Agnes experienced. I appreciated the way the film relayed the key information without a big exploitative scene.

Eva Victor has talked about the movie being loosely based on their own experiences, which is probably why it feels very raw and honest. There are also some really funny scenes here, mainly involving Lucas Hedges as a neighbor Agnes calls upon in times of need. And yes, the cat(s). So adorable, deserving of head scritches.

Fun fact: I watched two movies featuring Eva Victor performances this year. The other one was the animated indie Boys Go to Jupiter. That one is also worth checking out.

11. Roofman (Paramount+) directed by Derek Cianfrance

This movie is, to borrow Adam Riske’s genius turn of phrase, like nutmeg to me. Channing Tatum? I could never hate him. Kirsten Dunst? Of course I must. Derek Cianfrance? I gotta give it a chance. LaKeith Stanfield? I’m a stan for real. Peter Dink? It definitely won’t stink. Toys R Us? OK now it’s getting sus. I’m running out of rhymes now but basically, yeah, I was so stoked when I heard this movie was getting made. The idea of a ripped from the headlines story of a guy living inside a Toys R Us for over a month sounded amazing, and everyone involved is someone I adore. Admittedly, the marketing made this seem like much more of a zany comedy when in fact it’s secretly more of a drama with a few comic moments. But the storytelling is great, the nostalgia trip of seeing a convincingly recreated Toys R Us is fun, the Catch Me If You Can nature of the criminal enterprise is compelling, and Tates and Dunsty have winning on screen chemistry. After watching, it was also fascinating to look up the details of the real story and realize that the most outlandish parts were factual.

I do want an actual rom com with Tatum Tots and Thirsty Kirsty now, but this was incredibly satisfying and very underseen.

10. Hedda (Prime) directed by Nia DaCosta

I’m an unwashed plebeian when it comes to classic plays and literature, so I have to say I was not at all familiar with the original source material for this movie. I had no idea where the story was going or what Nia DaCosta had changed in her magnetic adaptation of the Henrik Ibsen drama. I saw Tessa Thompson in period costumes with a saucy look on her face and I was like, yep, I’m in.

This bisexual odyssey that takes place on One Crazy Night feels kinetic and dangerous and seductive all at once. It was great to see DaCosta and Thompson together again after their pairing for DaCosta’s debut Little Woods. Thompson is fantastic, but Nina Hoss nearly steals the show as Eileen, a former paramour to Hedda and current academic rival of Hedda’s new husband. Manipulation that gave me Othello vibes; opulence that felt a little Gatsby; intrigue steeped in desire that could’ve been authored by a Bronte sister—this movie has everything.

9. The Baltimorons (Online rental) directed by Jay Duplass

This wonderful, gentle comedy got a shout out from Patrick on the podcast recently in the Underrated segment. I fell head over heels for this One Crazy Christmas Eve movie. Likable characters, hilarious yet somehow believable hijinks, and a city setting—Baltimore—that feels lived in and alive.

The premise: A recovering alcoholic/improv comedy guy (Michael Strassner) needs emergency dental work. The only dentist willing to take him on such short notice on Christmas Eve is a no-nonsense woman named Didi (played by Liz Larsen). If you’ve ever seen a rom com, you know that these two are destined to go from antagonistic to romantically attracted or at least flirty over the course of the movie. It’s hilarious, sweet, and completely charming.

8. Jay Kelly (Netflix) directed by Noah Baumbach

Count me in for Noah Baumbach’s Fellini riff—this works on every level. Movies about movies can feel self-indulgent but this one never does. George Clooney understands the assignment, Adam Sandler proves once again he is capable of making audiences weep as well as laugh, and Billy Crudup shines in a small but pivotal supporting role. As I said on Letterboxd, this is very “we come to this place for magic.” I felt transported and it made me fall in love with the movies all over again.

7. Blue Moon (Online rental) directed by Richard Linklater

Ethan Hawke + Richard Linklater generally equals magic at the movies. Thus, even though I’ve only ever seen a high school cast perform Oklahoma! (gotta get that exclamation mark in there), I was interested in this movie, which takes place on the night the play opens on Broadway. In the words of Pacino, “What a picture!”

Hawke gives a dynamic, verbose performance as Lorenz Hart—one of the 20th century’s greatest lyricists now employing his linguistic talents primarily for the benefit of bartenders. He embodies the wit and the self-sabotage in a humanist way, which makes this portrait of Hart all the more compelling. Andrew Scott, Margaret Qualley, and Bobby Cannavale each have a part to play and do it well, but this movie belongs to Hawke. Despite its sad ending, which is revealed in the prologue, I could see myself returning to this movie as a hangout film almost as much as something like Dazed and Confused. Linklater finds a way to thread the needle between pathetic and magnetic in his portrait of fading genius.

6. K-Pop Demon Hunters (Netflix) directed by Maggie Kang and Chris Appelhans

If you have kids in your life, chances are you’ve already watched this movie multiple times (against your will or otherwise). You’ve almost certainly heard a song or two from its electrifying soundtrack. This and Weapons inspired the majority of Halloween costumes in 2025. Its ubiquity should not override the joyous and inspired miracle that this animated film truly is.

We get culturally inspired myths, incredible action sequences, distinctive and memorable characters, gorgeous animation, funny sight gags, and music that probably could pierce the veil between worlds. I’m not the world’s foremost expert on K-Pop, but I am a sucker for a good pop song in general; and my past as a boy band aficionado made me ready to embrace the Saja Boys even though my loyalties were with Huntrix. Plus, this movie that debuted on Netflix grew so much in popularity that it got special theatrical treatment not once but twice. Audiences flocked to see and sing along with a movie they could watch for free at home because the collective experience isn’t dead. See streamers? This is how it’s done, done, done.

5. Deaf President Now! (Apple TV+) directed by Nyle DeMarco and Davis Guggenheim

A lot of documentaries can be grim affairs. Not this one—this one will have you on your feet and cheering by the end. Using archival footage as well as current interviews, it traces the story of a group of students who fought for representation in 1988 at Gallaudet University. In a precursor to the “nothing about us without us” movement, these students (and some faculty) believed a school dedicated to the education of deaf and hard of hearing folks should have a president who could relate to their experiences personally. Instead, the board chose a candidate who didn’t even know sign language. The film tells the story of what the students did, how they got their message out, and the legacy of their fight. It’s inspiring, charismatic, funny, and exactly what I needed to see in 2025. I can’t recommend it enough.

4. Left-Handed Girl (Netflix) directed by Shih-Ching Tsou

Shih-Ching Tsou wanted to make this movie twenty years ago. She’d never made a movie before, but she shared the idea with a friend from her film editing class and he was all in. They flew to Taipei, scouted locations, and tried to make it happen—but ultimately, it felt too big for a first feature with no budget.

Tsou and her friend returned to New York City, made a different movie together with the $3000 they had, and kept the partnership going. She produced, he directed, they built on their early success and got some good reviews and found an audience along the way. Finally, the timing was right and Tsou stepped behind the camera to make the movie she’d always wanted to make. She hired her friend to be her editor and co-writer, and they shot on tricked out iPhones on location in Taipei with a crew of five people. That friend was Sean Baker, and I waited til now to mention him because Tsou deserves top billing on this movie even though the two of them have collaborated for a long time on movies like Takeout, Red Rocket, Tangerine, and The Florida Project.

The story is told through the eyes of a five year old girl, I-Jing, and her life with her mom and older sister. Mom has a stall making noodles at the night market and much of the movie consists of I-Jing wandering the other stalls unsupervised. The shop owners treat her kindly, and you get a real sense of community in the movie even though at times it also feels like this little family versus the world. I loved being immersed in the sights and sounds of Taipei, with some details so specific I had to Google to understand more about them. The performances are excellent, and I-Jing is just about the cutest kid you ever laid eyes on. This is more than just a cute kid movie, but I won’t tell you what else you’re in for because it deserves to be discovered on its own terms.

3. Dangerous Animals (Shudder) directed by Sean Byrne

Look, sometimes I just want to watch a movie about a serial killer that feeds people to sharks. Is that so wrong? I had no idea this movie would be so good, though. This is my first exposure to Sean Byrne, although I know his movie The Devil’s Candy is quite beloved among horror fans. Byrne takes a somewhat ridiculous premise and grounds it in reality somehow. In interviews, he talks about how he watched hundreds of hours of 4K footage of real sharks, studied and researched the science behind when and why sharks attack, learned about the speed with which they move through the water, and insisted on using footage of real sharks for all the underwater scenes. They shot on the ocean instead of using water tanks, and even used a real boat to add authenticity and keep the claustrophobic atmosphere intact. Byrne also cast this movie with actors that you want to be around—Jai Courtney as the villain and Hassie Harrison as our surfer protagonist. I’ve watched a lot of shark movies; this is top tier.

2. Sinners (Prime) directed by Ryan Coogler

Seeing Sinners in a theater is one of my highlights of 2025. I’ve rewatched it at home since then, but the communal experience takes it to another level. Maybe that’s because at the heart of it, the movie is about finding or creating community and the stakes (no pun intended) of being isolated or disconnected from that sense of camaraderie.

Michael B. Jordan does his best work when he’s directed by Coogler, and this dual performance might be the greatest illustration of that. Smoke and Stack are distinctly different characters, each with their own physicality and motivations. Don’t even get me started on the incredible Delroy Lindo, who should have as many Oscars as Denzel Washington by now. Wunmi Mosaku holds her power with such quiet depth of emotion. And I haven’t even talked about the music and that ONE SCENE, which just rewired my DNA completely.

This was my number one for most of the year, but then I saw the next one on this list.

1. One Battle After Another (HBO Max) directed by Paul Thomas Anderson

“Every revolution begins fighting demons. Motherfuckers just end up fighting themselves.” So says Perfidia Beverly Hills in a belated realization, possibly stating the thesis of the movie. This isn’t an Aaron Sorkin universe. The revolutionaries in this movie have glaring flaws. Is it enough that they are doing something to right the wrongs they see in the world? What does helping actually look like? Finding a movie so relevant to the moment, so incisive about the way the generational torch of fighting for rights gets passed down, how we get caught up bickering over the wrong things which distracts from the bigger picture, how truly cartoonishly evil the enemy is—it just feels like such a gift. That this movie is also funny and action packed and filled with unforgettable characters and lines and one of the best chase scenes in decades is just a bonus.

I find myself murmuring, “Ocean waves, ocean waves” when I’m anxious. I find myself thinking about the real hero of this movie, Benicio Del Toro’s Sensei. I came across an interview with Del Toro in Variety, where he’s describing a belief he holds in common with the character: “Tomorrow is another day, and there’s always hope. You can’t quit. I hope good and truth eventually rise. Extremes are scary on both sides, but you have to listen, respect, reach across.”

There’s significance to the code between Bob and Willa being excerpts from Gil Scott-Heron’s “The Revolution Will Not Be Televised.” If you’ve never listened to the full version, please do so. And then go listen to the rest of his discography and read about his own activism against apartheid, nuclear power, and more. This movie has a lot of messages: Hope, getting off your ass, caring for the people in your life. But another message here is about redemption—for Bob, yes, but maybe even for Perfidia. In a line from the title track of Gil Scott-Heron’s final album, I’m New Here, he says:

“No matter how far wrong you’ve gone,
You can always turn around.”
Time to get into the street and start looking for a brighter day.

Honorable Mentions:
Weapons
Wake Up Dead Man: A Knives Out Mystery
The Phoenician Scheme
Holy Cow
Bob Trevino Likes It