Ankit Jhunjhunwala's Top 10 Movies of 2025

      Following The Film Stage’s collective ranking of the top 50 films of 2025, as part of our year-end reflection, our writers are presenting their individual top 10 lists.

      Nearly all the films mentioned below debuted at a festival. Contrary to some beliefs, 2025 was a remarkable year for cinema, marked by significant works from both well-known and lesser-known directors. The only real concern lies with the non-festival releases referenced previously. The gap between films aimed at festival audiences and those intended for general viewers appears to be widening.

      It could be argued that the mere fact of a general release makes a film less likely to appear on lists like this one. However, the more pressing issue is the concerning and disheartening decline in the quality of commercial studio films, with just a few exceptions. To prevent cinema from becoming a stagnant art form akin to preserved museum exhibits, it is crucial to maintain a certain standard in commercial films to keep the art form accessible to everyone. The advances of AI in the industry are persistent and intensifying—only the demonstrable creativity of human imagination can keep it at bay.

      To some extent, the festival statistics are skewed, given that nearly everything premiering in the latter half of the year is a festival film, owing to the abundance of fall festivals that bestow a veneer of prestige upon any film attempting to position itself for award consideration. While festivals like Toronto and Sundance have an impact on the annual landscape, the primary European festivals—Berlin, Cannes, and Venice stand out, with Cannes overshadowing all as the leading launch platform. Observers noted that both Cahiers du Cinema and Film Comment had 7 films from Cannes in their Top 10. Who am I to judge when 8 films in my list also came from Cannes? The festival truly seems to get first pick, and it appears that attending only Cannes can provide a viewer with much of the year's finest cinematic offerings.

      A positive trend noted in the film community and industry is the growing appreciation for non-English language films. While the decline in quality of both commercial and prestige content could justify a broader perspective, it may not be entirely negative. With the prevalence of subtitles accompanying streaming and social media, categorizing films based on language feels increasingly arbitrary. One can hope for a future where such distinctions fade away. Without further delay, here is my selection of the top US releases for 2025.

      Honorable Mentions (Ranked from 11 to 18): The Mastermind (Kelly Reichardt), The Phoenician Scheme (Wes Anderson), Holy Cow (Louise Courvoisier), The Love That Remains (Hlynur Pálmason), On Becoming a Guinea Fowl (Rungano Nyoni), Invention (Courtney Stephens), The Testament of Ann Lee (Mona Fastvold), and Who by Fire (Philippe Lesage).

      10. Viet and Nam (Trương Minh Quý)

      In Trương Minh Quý’s third film, the titular young miners, Viet and Nam, symbolize the divided halves of Vietnam in this radiant gay romance that also confronts the Vietnam War. The war's impact remains significant in the nation's collective consciousness, and Trương addresses it with a blend of historical detachment and personal mourning. Viet's mother seeks closure, while Viet longs for a future beyond Vietnam. Throughout the film, Trương captures the extraordinary beauty found in everyday life—the breathtaking Vietnamese landscapes and the image of lovers entwined on a coal bed, seemingly surrounded by stars.

      Viet and Nam premiered in Un Certain Regard at the 2024 Cannes Film Festival and was released in the US by Strand Releasing.

      9. Familiar Touch (Sarah Friedland)

      The struggles of aging and the pain of memory loss have been explored in several significant films, such as Michael Haneke’s Amour and Florian Zeller’s The Father. Sarah Friedland diverges from the typical somber tone of the genre, focusing instead on the irritation and discontent of her octogenarian character. Ruth is appalled by the condescending treatment she receives at the assisted living facility where her son places her. In a monumental and unforgettable performance, Kathleen Chalfant finds humor in Ruth’s situation while also highlighting the poignancy of losing one’s identity—a profound humiliation for a once-intelligent and independent person.

      Familiar Touch premiered in Orizzonti at the 2024 Venice Film Festival and was released in the US by Music Box Films.

      8. Caught by The Tides (Jia Zhangke)

      While Caught by The Tides superficially focuses on the tumultuous love between Zhao Tao’s Qiao and Li Zhubin’s Bin, the true protagonist is China itself. As we follow Qiao and Bin throughout the years, the great nation progresses steadfastly toward its goal of becoming a global superpower. Major events unfold—the construction of the Three Gorges Dam, the Olympics bid victory, and the COVID-19 pandemic—but China