Jared Mobarak’s Best 10 Films of 2025

      In line with The Film Stage's collective ranking of the top 50 films of 2025, our contributors are presenting their individual top 10 lists as part of our end-of-year review.

      This year, my favorite films are largely represented by international and independent projects, yet I can't overlook the impact and appeal of 2025's two major studio releases: Sinners and One Battle After Another. The former ranks highly on my list, while the latter occupies a position toward the latter half of my Top 50. What do these two films have in common (beyond the irony that both were produced by Warner Bros. right before its potential acquisition by Netflix)? They are both driven by auteur visionaries who started their journeys in the independent film realm.

      They are not alone in this trend, as Chloé Zhao and Nia DaCosta also began their careers in the independent space. Jan Komasa, known for directing the International Oscar nominee Corpus Christi, also emerged from the international film scene before his latest project found a home at Lionsgate. This correlation isn’t a mere coincidence; it reflects the current Hollywood landscape, where the majority of films (apart from smaller studios like A24 and Neon) often rely on intellectual properties rather than fresh ideas. If studios shy away from supporting creatives like Ryan Coogler or Paul Thomas Anderson in hopes that their projects resonate, they are left with a lineup predominantly featuring video game adaptations, superhero films, and genre offerings.

      Netflix's bid to acquire Warner Bros. could be interpreted both as a hopeful opportunity and a potentially disastrous move. While it risks further diminishing the concept of the theatrical window (especially with WB films now set to have only a seventeen-day exclusive run before streaming—an emerging norm elsewhere), it might also revitalize the legacy status for future films by directors like Martin Scorsese or David Fincher that they planned to produce anyway.

      This situation feels reminiscent of the music industry’s acknowledgment of the need to adapt to evolving technology and consumer preferences. The key difference, however, is that while streaming affected CD sales, live concerts remained largely unharmed. In contrast, Hollywood's transition to streaming has significantly impacted box office earnings more than Blu-ray sales (also squeezing finances from creatives through low streaming compensation deals, akin to the music industry’s practices). Is this assertion accurate? Perhaps. One could contend that the failure of movie theaters to maintain their sanctity—by banning cellphones, enforcing proper etiquette, and reducing commercial clutter—plays a crucial role in the decline of attendance.

      As we look ahead, it will be fascinating to see how developments unfold this coming year. Will the Netflix acquisition be approved? Will Trump intervene to block it, forcing Warner Bros. into David Ellison's grasp? Will this entire private equity merger machine finally be dismantled as the glaring monopolistic operation it is? Or could another major studio like Sony meet a similar fate?

      Ultimately, as long as individuals continue financing filmmakers like Lynne Ramsay and Rian Johnson to make movies with final cut privileges, isn't that a win? Perhaps due to my age, I recall when accessibility was a key concern. Now, not having to fret over whether I can view films by my favorite directors and simply needing to figure out where to watch them is a more pleasant challenge in retrospect.

      Honorable Mentions: April (Dea Kulumbegashvili), Hedda (Nia DaCosta), Plainclothes (Carmen Emmi), Rebuilding (Max Walker-Silverman), Warfare (Ray Mendoza & Alex Garland)

      10. Anniversary (Jan Komasa)

      Rather than search for solutions to the complex issues faced by the American experience, Jan Komasa and screenwriter Lori Rosene-Gambino's Anniversary seeks to reveal them. It illustrates how equality gives rise to fear stemming from humanity's selfish inability to accept that others have an equal claim to one's privileges. The story demonstrates how good intentions fall short against the inescapable truth of absolute power corrupting absolutely. While the script’s portrayal of a family caught in a political tempest reflects the futility of "coming together despite differences" amidst tribalism—reminiscent of MAGA autocracy—the emotional resonance derived from its narrative is significantly enhanced by a stellar cast. It challenges viewers to consider, not hypothetically, but as a form of preparation, how they would react in similar situations.

      9. The Ballad of Wallis Island (James Griffiths)

      Much like John Candy demonstrated in Planes, Trains and Automobiles, James Griffiths’ The Ballad of Wallis Island illustrates that Charles' (Tim Key) longing to emotionally connect with Herb's (Tom Basden) stranger is not a flaw of character. Instead, it's a defense mechanism against the suffocating silence around them. Herb's refusal to reciprocate Charles' enthusiasm, while grappling with a regretful past, serves to keep him imprisoned by it, just as Charles hides his own pain. Carey Mulligan’s