- - The Best Films of 2025, From No-Brainers to Surprising Favorites

Erica Gonzales, Kayla Webley Adler, Sara Austin, Alyssa Bailey, Madison Feller, Adrienne Gaffney, Alex Hildreth, Samuel Maude, Claire Stern Milch, Lauren Puckett-Pope, Daniel Taroy, Burake Teshome, and Juliana UkiomogbeDecember 18, 2025 at 5:30 PM

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The Best Films of 2025, According to ELLE Editors Warner Bros./A24/Neon/Focus Features

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This has been a year of upheaval for the film industry, with the potential Netflix-Warner Bros. sale, record-low box office turnouts, and the ongoing threat of AI raising questions about the future of Hollywood. But even in such a period of uncertainty, some movies were really worth celebrating. Sinners sent fans swarming to theaters, One Battle After Another made a simple car chase blow our minds, Marty Supreme rewrote the rules of the marketing campaign, and indies like Sorry, Baby introduced us to new must-watch filmmakers.

As awards season quickly approaches, there’s no better time to look back at the year in cinema. From surefire Oscar contenders to unexpected hits, here are the best films of 2025, in no particular order, according to the ELLE team.

One Battle After Another

“With such little mainstream press leading up to its release, One Battle After Another immediately went from sleeper hit to one of the must-sees of the year. I can’t remember the last time I saw a movie that went full throttle for almost three hours straight without losing the audience’s attention. Leonardo DiCaprio is back in the driver’s seat as a bumbling former revolutionary, but it’s Teyana Taylor, Regina Hall, and Chase Infiniti’s emotionally complex performances that steal the show.”—Alexandra Hildreth, fashion news editor

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Sentimental Value

“Sentimental Value reunites The Worst Person in the World director Joachim Trier and lead actress Renate Reinsve in a quiet family drama also starring Elle Fanning, Stellan Skarsgård, and Inga Ibsdotter Lilleaas. The film explores the fractured relationship between an acclaimed director named Gustav Borg (Skarsgård) and his actress daughter Nora (Reinsve), which is further complicated when Borg decides to make a film about his family and casts an American actress, Rachel Kemp (Fanning), to play his child. It’s as awkward and uncomfortable as you might imagine, but the poignant film will keep you rapt and guessing ’til the end.”—Kayla Webley Adler, deputy editor and features director

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Marty Supreme

“Marty Supreme may be a master class in marketing, but it’s worth the excessive hype its title star is generating. Windbreakers and blimps aside, Timothée Chalamet does, in fact, deliver one of his greatest performances as American table tennis player Marty Reisman. And don’t overlook a hopelessly devoted Odessa A’zion as his love interest, either.”—Claire Stern Milch, digital director

In theaters December 25.

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Sinners

“Ryan Coogler and Michael B. Jordan have done it again. Their latest collaboration is a bold (and surprisingly hot) film that transcends genres and generations, mixing vampire lore with the rich history of blues music in the Black American South. Jordan plays double duty as twins Smoke and Stack, who, after some time working for mobsters in Chicago, return home to Mississippi to open a juke joint in the sweltering heat. But things get bloody when some unwanted visitors show up. With stellar supporting performances from Hailee Steinfeld, Wunmi Mosaku, Jayme Lawson, Delroy Lindo, and newcomer Miles Caton (who boasts some serious pipes), Sinners is campy, pulpy, and one of a kind. The way Coogler got people to flock to the theaters to watch IMAX 70mm showings? That’s a feat in and of itself.”—Erica Gonzales, deputy editor, digital content

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Hamnet

“Chloé Zhao, the acclaimed director of 2020’s Nomadland, returns with Hamnet, a historical drama centered on William Shakespeare (Paul Mescal) and his wife, a healer named Agnes/Anne Hathaway (Jessie Buckley), as they cope with a devastating loss that ultimately inspired Shakespeare’s most famous tragedy, Hamlet. The deeply moving film, based on the historical-fiction novel of the same name by Maggie O’Farrell, is a poignant portrait of marriage and grief—expertly translated to the screen by Zhao and her leads, Mescal and Buckley—both of whom are likely to be contenders for big acting awards this coming year.”—KWA

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No Other Choice

“I left the theater genuinely stunned by No Other Choice, the latest from celebrated Korean director Park Chan-wook. Lee Byung-hun (a.k.a. the Front Man in Squid Game) is Minsu, a husband and father of two who loses his job at the paper company he’s worked at for decades. His search for another role in the dying industry is highly competitive and unproductive. As his family heads for financial ruin, he goes to extremes to get himself employed when a spot opens at another organization. So what does he do? He makes a fake job listing for a similar role, luring in résumés from the candidates he’ll be up against at the real job. He susses out his biggest competitors, then devises a plan that will leave the managers with no other choice but to hire him. Yes, it’s outrageous—but each twist feels thrilling and earned. It’s a sharp commentary on capitalism that also feels mischievous and clever, even dreamlike, with Park’s sweeping pans and zooms. Lee is a genius in the role; you feel his desperation and fear, but his comedic timing makes the performance wickedly good. Son Ye-jin (of Crash Landing on You) is also a standout as Minsu’s wife, an aspiring ballroom dancer who’s trying to keep their family afloat. No Other Choice is funny, dark, and smart. I want every movie to make me feel this way.”—EG

In theaters December 25.

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Sorry, Baby

“I made the rookie mistake of watching Sorry, Baby on an airplane, which means I wept uncontrollably in front of the stranger sitting next to me. Eva Victor’s directorial and screenwriting debut, about a woman stuck in the aftermath of a traumatic incident, is subtly devastating—but it’s the heartfelt scene between the protagonist and a sandwich shop owner that punches you right in the chest.”—CSM

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Wake Up Dead Man: A Knives Out Mystery

“Rian Johnson’s third Knives Out film is not only the best installment in the series so far, but it’s also one of the twistiest, most satisfying mysteries in recent memory. There’s so much to love in Johnson’s latest, from the gothic setting to the religious imagery to the political zingers to the introduction of Josh O’Connor as a boxer-turned-reverend looking to spread the sort of forgiveness that has changed and shaped his own life. Funny and earnest, with the kind of nuance many of its modern blockbuster brethren lack, Wake Up Dead Man is a gift.”—Lauren Puckett-Pope, culture writer

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The History of Sound

“Now, if you tell me Paul Mescal and Josh O’Connor will play lovers in a period piece about folk music, I will be sat. The History of Sound flew slightly under the radar this year, and I’m not exactly sure why. Deeply poignant and heart-wrenching, it calls to mind the emotional gut punch of Brokeback Mountain while being a quieter, moving love story in itself. If anyone was concerned about Mescal’s musical chops ahead of his role as Paul McCartney in Sam Mendes’s Beatles biopics, don’t be—as Lionel Worthing, the Hamnet star proves he has the vocal prowess to back it up.”—Burake Teshome, senior social media editor

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If I Had Legs I’d Kick You

“Mary Bronstein’s film resonates particularly deeply with mothers of small children, but the idea that there’s no one coming to save you—whether you’re dealing with a sick daughter, a condemned house, or any other sad, scary, and overwhelming modern situation—is universal. We’re all, at some point, going to find ourselves completely on our own. To say Rose Byrne is a revelation undervalues the incredible work she’s done up to this moment, but there’s a sense that no one else could bring the same aggravated expressions, sweatpants-under-nightgown looks, and screams of frustration to life. The final scene is devastating and, months later, has yet to leave me.”—Adrienne Gaffney, features editor

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Hedda

“There are not enough words to describe how great Tessa Thompson is in Hedda, writer-director Nia DaCosta’s modern spin on Henrik Ibsen’s iconic 19th-century play Hedda Gabler. Thompson plays the titular Hedda, a spunky and cunning woman caught in a love triangle with her husband (Tom Bateman) and her former lover (Nina Hoss). If you missed its limited theatrical release, you can watch it now on Prime Video and revel in all of its moodiness, chic period piece costumes, and captivating performances.”—Juliana Ukiomogbe, contributor

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Bugonia

“It was the shaved head that rocked the world: Yorgos Lanthimos’s new black comedy brings his regulars, Emma Stone and Jesse Plemons, back for another go. This time, Plemons’s beekeeper Teddy Gatz kidnaps Stone’s Michelle Fuller, a pharmaceutical CEO on the Forbes list. Convinced Fuller is an alien, Plemons tortures and holds her captive until she shows him the ultimate truth. Bugonia is fantastical, as most Lanthimos films are, and serves as an excellent rebound from the lukewarmly received Kinds of Kindness.”—Samuel Maude, content strategy manager

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Nouvelle Vague

“You don’t have to know much about French New Wave cinema to thoroughly enjoy this ode to the making of Jean-Luc Godard’s classic Breathless. Like so many projects from Richard Linklater, director of Dazed and Confused and the Before Sunrise trilogy, this movie is a great hang. Guillaume Marbeck never takes off his sunglasses as Godard, a charming agent of chaos, and Zoey Deutch is a star as his reluctant leading lady, the American actress Jean Seberg. Don’t be surprised if you find yourself searching for Breton shirts and pixie cuts after the credits roll.”—Sara Austin, executive editor

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Die My Love

“Jennifer Lawrence is a marvel in Die My Love as a new mother battling postpartum depression and psychosis in one of her most vulnerable and challenging roles to date. Filmed while the Oscar winner was pregnant with her second child, it’s a psychological trip of a movie that only further cements her status as one of this generation’s great talents. In a crowded best actress field, her performance is one to keep an eye on as we head into the thick of awards season.”—BT

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Frankenstein

“Guillermo del Toro’s Frankenstein might or might not live up to Mary Shelley’s beloved gothic novel—our editors have their own thoughts on that—but there’s no arguing that the director’s adaptation is a grand, ambitious, full-hearted feat. Jacob Elordi gives a particularly impressive performance as the Creature, ironically beautiful in his supposed monstrosity—as so many of del Toro’s monsters are. It’s an adaptation that speaks of hope and healing, even for the most outcast among us.”—LPP

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Train Dreams

“Train Dreams is such a small, quiet, beautiful movie. You can see it as a message about the earth’s resources, guilt, the beauty in nature, or what it means to lead a simple life. What’s undeniable is that Joel Edgerton—arguably one of the best actors of our age—gives a transcendent performance.”—AG

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Eternity

“I would like to live in Elizabeth Olsen’s eternity, where her character, Joan, has to pick which ex-husband she’ll spend her forever with: Luke (Callum Turner) or Larry (Miles Teller). Set in the afterlife, it’s a classic Challengers setup (minus some bisexuality from the two men), where both dudes are pining after the same woman—but Joan can only choose one. It’s a hilarious film where there’s a utopia for everyone (my personal favorite was Studio 54 Eternity Without the AIDS) and also stars the Academy Award-winning Da’Vine Joy Randolph.”—SM

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KPop Demon Hunters

“I went into KPop Demon Hunters with no expectations and was blown away by not only the infectious soundtrack but also how compelling the plot is: Singer Rumi tries to hide a big secret as she and her fellow members of the K-pop girl group HUNTR/X face their biggest threat—a demon boy band, the Saja Boys, that feeds off of people’s shame. Seriously, watch this before you judge it; this is one of the best animated films I’ve ever seen, and I grew up during the Disney Renaissance.”—Alyssa Bailey, deputy editor, news and strategy

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Weapons

“For a little bit there, everyone was talking about Weapons, Zach Cregger’s masterful horror film about the caper of Maybrook, Pennsylvania, where 17 children ran out of their homes in the middle of the night. Julia Garner stars as schoolteacher Justine Gandy, and Amy Madigan gives an award-worthy performance as Aunt Gladys, the eccentric visiting relative with a hidden connection to the mystery. The film has already become an instant cult classic, with fans donning Aunt Gladys’s red bob for their Halloween costumes.”—SM

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It Was Just an Accident

“This ‘revenge’ story from Iranian director Jafar Panahi won the Palme d’Or at Cannes for a reason. A mechanic named Vahid is surprised to overhear a customer enter his auto shop; he believes this is the man who tortured him in prison. But because he was blindfolded in jail, he can only identify him by the squeak of his footsteps (from his prosthetic leg) and the sound of his voice. Vahid captures the man, named Eghbal, and is about to bury him alive when doubt enters his mind: What if this isn’t the guy? So he packs Eghbal back into his trunk and tracks down his fellow former prisoners in hopes of getting some confirmation. The characters he picks up along the way feel like the ensemble of an allegorical play—each with different points of view, traumas, and opinions on what to do with their supposed torturer. Partially based on Panahi’s own experiences in prison (he was arrested for making anti-government propaganda and even banned from filmmaking), the movie is a loaded critique of authoritarian regimes that resonates deeply with viewers around the world today. And yet, it’s surprisingly darkly funny without making light of its subject. The final scene gave me full-body chills.”—EG

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Highest 2 Lowest

“Only in a Spike Lee joint could Denzel Washington and A$AP Rocky face off in a rap battle—and actually make the scene work. In Highest 2 Lowest, Washington plays David King, a successful music executive who’s blackmailed by an aspiring rapper named Yung Felon (Rocky). What follows is a classic cat-and-mouse chase between the two, fueled by sharp tension, catchy needle drops, and the undeniable chemistry between Washington and Rocky.”—JU

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Wicked: For Good

“Ask any disciple of the original Wicked Broadway musical and they’ll tell you that the second act is Wicked: Not Good. That might’ve been a useful piece of expectation-setting for newcomers unburdened by two decades’ worth of fans quibbling over pacing and plot holes—most of which stem from the fact that act 2 essentially turns into a community-theater reenactment of The Wizard of Oz. So it’s a larger-than-Munchkin-sized miracle that Cynthia Erivo and Ariana Grande handily elevate the entire enterprise on the strength of their performances alone. All the standout elements that made last year’s first installment a critical and box office hit are front and center here, so if we’re talking about movies—and ‘For Good’ specifically—as a capital-E Experience, then consider this broomstick successfully landed.”—Daniel Taroy, director, social media & video

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Zootopia 2

“Raise your hand if you’re going wild for Nick Wilde. Nearly everyone should have their hand in the air, because Zootopia 2 is breaking box office records left and right. The blockbuster continues the story of Wilde and police officer Judy Hopps as they work to bring reptiles back to Zootopia. It’s a true feat by Disney to craft an impactful story about race, displacement, and family—all accomplished with animated animals. And yes, Shakira is back as Gazelle with her new single, ‘Zoo,’ which she of course performs in the final credits at an event called Burning Mammal.”—SM

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One of Them Days

“A solid buddy comedy just hits different, especially if it’s led by women. Following in the footsteps of Bridesmaids, Booksmart, and Girls Trip, One of Them Days centers on two best friends, Alyssa (SZA) and Dreux (Keke Palmer), who are on a frenzied quest to earn back the rent money Alyssa’s boyfriend squandered so they don’t get evicted. Their laugh-out-loud romp around Los Angeles is packed with cameos (watch out for Janelle James and Keyla Monterroso Mejia), a biscuit thief, and even a tumbleweave. Palmer and SZA’s chemistry is electric, and it sure helps that the screenplay was penned by Insecure writer Syreeta Singleton and produced by Issa Rae herself. It made me miss the bestie antics of Rae’s HBO series and even Broad City. Thankfully, a sequel is already in the works.”—EG

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Bring Her Back

“I, too, would bite into a table when I’m at my hungriest. In the horror film Bring Her Back, Sally Hawkins delivers a resolute performance as Laura, a foster mother parenting Andy (Billy Barratt), Piper (Sora Wong), and Olivier (Jonah Wren Phillips). When things start to get a little wacky at home, Andy and Piper have to fight their way out. It’s a downright scary flick—one that will make you think twice about touching a knife ever again.”—SM

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Mickey 17

“Can we please give Robert Pattinson two Oscars for his dual performance in Bong Joon Ho’s hilarious and oddly hopeful anti-capitalist sci-fi film, Mickey 17? Pattinson is masterful in the role(s) of Mickey—a human so deeply in debt he agrees to be an ‘expendable’ aboard a spaceship just to escape Earth. The catch is that the position requires him to do dangerous, painful jobs that cause him to die and be ‘reprinted’ again and again. When the space scientists accidentally reprint him while he’s still alive, Mickey 17 and Mickey 18 come face-to-face, inciting chaos and giving Pattinson the opportunity to truly stretch his legs. Come for the actor’s accent and the adorable Creeper creatures; stay for Bong’s analysis of our current political climate.”—Madison Feller, former digital deputy editor

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Companion

“M3GAN walked so Companion could run. Smart, deeply unsettling, and far more layered than it first lets on, Drew Hancock’s debut builds on slow-burn tension that hits hard, especially in a world increasingly shaped by AI. Sophie Thatcher also manages to cement her status as this generation’s scream queen (look out, Jenna Ortega!).”—CSM

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The Wedding Banquet

“Oh, Bowen Yang, you never fail to pull at my heartstrings. The Wedding Banquet, the 2025 remake of Ang Lee’s 1993 film of the same name, is a heartfelt, meaningful cryfest. This modernized version from Andrew Ahn includes a powerhouse cast with Lily Gladstone, Kelly Marie Tran, Youn Yuh-jung, and Yang, and centers on a two-couple friend group. When Min (Han Gi-chan) needs to get married to appease his grandmother (Youn), who does not yet know he’s gay, Min has to marry Angela (Tran) instead of his true love, Chris (Yang), who isn’t quite ready for commitment. What results is an infectious romp that investigates the idea of a modern family.”—SM

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Black Bag

“There is nothing I love more than a tight 90-minute feature. Black Bag, the spy thriller starring Cate Blanchett and Michael Fassbender, is quick, smart, and incredibly entertaining. Fassbender plays George Woodhouse, who is set to investigate a leak in his British intelligence department. His wife, Kathryn (Blanchett), is a suspect, turning their relationship into a cat-and-mouse chase. But the best part of the film? Marisa Abela, who plays suspect Clarissa Dubose. Her funny quips and smart choices really make the movie exceptional.”—SM

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Materialists

“Celine Song’s latest romance has a lot going for it: a heavy-hitting trio of actors at its core (Dakota Johnson, Chris Evans, and Pedro Pascal); an envy-inducing wardrobe; and a zeitgeist-y premise in which a professional matchmaker faces an Austenian conundrum: Is marriage about love or class, chemistry or compatibility? While not nearly as gut-wrenching and nuanced as Song’s Academy Award-nominated Past Lives, Materialists is nevertheless a fascinating peek into the modern marriage market—and a reminder that, as Jane Austen herself put it, ‘There is no charm equal to tenderness of heart.’”—LPP

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I’m Still Here

“Fernanda Torres hive, rise up. Months after watching, I’m still thinking about her Oscar-nominated performance in I’m Still Here, the incredible Brazilian film about Eunice Pavia coping with the disappearance of her husband, Rubens, during Brazil’s military dictatorship. Torres commands the screen, and her mother, the only other Academy Award Best Actress nominee from Brazil, Fernanda Montenegro, also makes an appearance. It’s a moving and incredible film that rightfully won Best International Feature at the 2025 Oscars.”—SM

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Drop

“I’ll always appreciate a genre film that knows exactly what its audience expects from it and delivers, no more and no less. Drop isn’t groundbreaking, but it is a lot of fun. Lead actress Meghann Fahy, in particular, is a treasure to behold in this locked-room heart-pounder, in which her character must successfully navigate a first date, even as the random ‘drops’ on her phone grow increasingly ominous—and violent. Director Christopher Landon keeps the tension taut throughout the one-hour-and-40-minute runtime, and I didn’t find myself guessing the culprit until moments before they were revealed. This popcorn thriller is certainly absurd, but nevertheless a pleasure to watch.”—LPP

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On Becoming a Guinuea Fowl

As featured in our best films of NYFF 2024, before its theatrical release in March 2025:

“Shula (Susan Chardy) is driving home from a party (and dressed like Missy Elliott) when she finds her uncle lying dead in the road. Though she’s surprisingly apathetic to the loss, the ensuing funeral services and family gatherings slowly reveal why. Despite her uncle’s dark history, and the trauma Shula shares with her cousins Bupe and Nsansa, their family still remembers him as an honorable man, in fear of tarnishing his reputation, even in death. Zambian Welsh director and screenwriter Rungano Nyoni, who won a Cannes prize [in 2024], shows the harm that kind of secrecy can do to a family, especially to young women. She also challenges that blind loyalty: What if we didn’t ignore the things someone has done just because we’re kin? What if we held them accountable? Nyoni’s film is surreal yet relatable, infuriating yet inspiring.”—EG

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The Assessment

As featured in our best films of TIFF 2024, before its theatrical release in March 2025:

“Despite its familiar sci-fi setup—a couple in a climate-ravaged dystopian future seek to have a child—Fleur Fortuné’s The Assessment is a deftly surprising take on the twin instincts of parental anxiety and species survival. With gorgeous cinematography from Magnus Nordenhof Jønck, the film introduces hopeful parents Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) to their so-called ‘assessor,’ Virginia (Alicia Vikander). She has arrived as a government representative to determine whether Mia and Aaryan are fit to have a child, but as her own behavior becomes increasingly bizarre—and childlike—Mia and Aaryan realize that the world outside their own four walls is even darker than it seems.”—LPP

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