Movie theater. What are the 15 best films of 2025? Here is the top editorial

Proposals endorsed by the public, and others more confidential; History with a capital H and intimate epics ; of the Cannes sensations extended in the rooms of France; movies in direct contact with the contemporaryothers tempted to throw away a glance in the retrostill others testifying to the thread stretched between yesterday and today; la confirmation DiCaprio et the Melliti revelation ; France and the United States at the forefront, and some Brazilian breakthroughs… Cinema will have covered, this year again, a territory as big as the world. We have chosen for you fifteen of its most beautiful manifestations.

“And this is Anderson’s genius as an artificer: it is by seeking the point of incandescence of the spectacular language (big budget, enormous actors, continuous action) that he finds the Brechtian feeling, this distancing from the combat which is an exhortation to fight from the sidelines, to make the wires of the old car which still has some under the hood, in a childish and schoolboy guerrilla gesture to be taken with the greatest seriousness. In contemporary American cinema condemned to smile sardonically among the recumbent figures, One battle after another offers an afterglow of fireflies (…)” / Clément Deleschaud

#2 Sirât (Oliver Laxe)

“(…) A prequel of Mad Max (engine concerto in the desert, rumors of the Third World War), a revisitation of Sorcerer (hazards of the journey and explosiveness of the convoy), a western with a trajectory recalculated along a north-south axis – in phase with the geopolitical context which, underground, works the film -, all accompanied by a touch of Gerry and added – for the meanings and purposes of the addition of perceptions – with one of those tablets that partygoers exchange on the track… Here are therefore summoned, to better evacuate them, some of the ways of approaching Sirât which, moreover, nonetheless bears the exclusive signature of its author (…)” / Thomas Fouet

“(…) Linklater’s Godard (formidably played by Guillaume Marbeck) is not very different from Tim Burton’s Ed Wood. He simply falls on the right side of the fine line that separates the stroke of genius from the catastrophe. In doing so, New wavewhile certainly giving a necessarily simplified vision of the revolution that the New Wave constituted, pleads with enthusiasm and firmness for a cinema which is nourished by the sources of innocence, the spirit of contradiction and pleasure. Which, in these times, is not an empty message.” / Nicolas Marked

“(…) With her composition full of restraint and silences, Nadia Melliti (Female Actor Prize at Cannes) leaves precious space for her acting partners, who achieve the accuracy necessary for the good transmission of their gentle empathy. Because the film also displays a salutary ambition: to turn its back on the aggressiveness and mistrust which too often govern human relationships (evacuated from the first scenes), and to make tenderness triumph by offering exchanges where one speaks quietly, where where we cuddle, and where we listen to each other.” / François Barge-Prieur

#5 L’Agent secret (Kleber Mendonça Filho)

“(…) The filmmaker condenses his themes into a great whole, an edifice of crazy power. An ode to resistance, to cinema, to listening, to democracy. An ode to life, quite simply. As the hero says: “Today, I am alive, I am strong, I want to live”. In a Brazil and a world traversed by retrograde currents, these words resonate as another possibility.” / Isabelle Boudet

“(…) Well aware, even eager, one suspects, of the controversial nature of his subject, Serra ultimately signs a film with an undecidable ethical position. Aficionados will find their share of pieces of bravery, and perhaps confirmation that something of the order of truth is at stake in the arena (which one? one might object: Man writes his “legend”, the animal responds to signals of pain, movement or color); the opponents will be reinforced in their disgust of a ritual which may, perhaps, disappear, and which Lonely afternoons could then compose the testimony, less polemical than honest, for future times.” / Thomas Fouet

Vermilion (Maura Delpero)

“(…) Maura Delpero excels in a wintery first part, with celestial photography (we have rarely seen this beautiful in recent years) and sepulchral hieraticism, and reaches unsuspected dramatic depths, while keeping an oblique look, almost like an entomologist, on this gynoecium of the rear base, on this supernatural and obsolete valley where natural laws (love, cowardice, frustration, war) resonate all the more strongly as they reverberate in the prelapsarian echo chamber of the mountainous rocks.” / Clément Deleschaud

#8 equally – Attachment (Carine Tardieu)

“(…) the film, very beautiful, is not seen as a theoretical treatise on the attachment here borne (among others) to, and by, a child, but rather delivers a generous vision (like the Other people’s children de Rebecca Zlotowski, et you Novel by Jim by Arnaud & Jean-Marie Larrieu – whose scope Tardieu extends well beyond (in-laws), reluctant to any cataloging (how can we name the color chart of feelings animating the characters, and is it necessary?).” / Thomas Fouet

“(…) Hybridization of form and genre: the film weights its horrific bundle, ultimately quite light, with grotesque projections, gory fantasies, bemused dreamlike visions, in a great daytime parade which feeds, like a tapeworm, on the guts of its own festival-goers. Because Faintedbehind its somewhat laborious first curtain, turns out to be a great film on the creation of fear, its chemistry, its alteration of reality, but above all its devouring of life. (…)” / Clément Deleschaud

“(…) Jude, through the dialectical band, fixes the mummification of an era which itself constructs its own extinction. The ruin, moral, religious, political, which reshapes Romania (and in doing so, our own Western Europe) culminates in the film with the evaporation of the characters, in a gripping, furiously Antonioian final shot: a modern, fireproof Pompeii – which no longer even has the faith to go straight towards catastrophe. Hope died with the dinosaurs.” / Clément Deleschaud

I’m still here (Walter Salles)

“(…) Without ever locking itself into the pattern of the message film, I’m Still Here tells the painful awakening of Eunice, who becomes aware of the brutality of the regime but also of the political commitment of her husband, who hid the truth from her to spare her from living in fear. I’m Still Here is also a heartbreaking film about mourning: about the difficulty, for Eunice, her son and her daughters, of doing so when the one you love is designated as “disappeared” (…). / Michael Ghennam

Magellan (Daughter)

“(…) Lav Diaz signs an eminently political work, an anti-colonialist charge that resonates long after the film has ended. If he uses a cinematic language of sublime expression for this, it is to better recall his attachment to the freedom and self-determination of peoples. With this message and the emotional charge that accompanies it, the film certainly evokes the past history of European colonization, but also the rebirth, in the present time, of feelings imperialists (…)” / Florent Boutet

Sorry, Baby (Eva Victor)

“(…) This delicate writing is superimposed on a mimetic staging. Through her way of filming Agnes and her environment, the director translates as much her “original” character as her therapeutic journey. There is in particular this beautiful gesture which consists of slowing down the cutting: the shots stretch out, seeming to allow the characters to enter and leave the frame as they please and at their own speed. As a way of ensuring that the heroine can catch her breath. (…)” / Simon Hoareau

“(…) The filmmaker is angry but loses neither his humor nor his humanity. Through the quest for truth of Vahid, who will find himself flanked by four acolytes, all different – ​​and yet all branded by state violence -, the filmmaker paints an absurd portrait of the political decline of his country. (…)” / Michael Ghennam

“(…) Each time the film goes to confrontation, comes as close as possible to violence but freezes it before explosion by covering it with gentleness, it produces by chemical reaction a very beautiful quality of emotion. Thus in this scene of stage fright (variation around the finale ofEsther Kahn), which begins the story. Afterwards, softness is a delicate register to handle, because it creates the risk of tipping towards the bland “little music” side. Sentimental value does not always escape it, but Trier most often knows how to recover himself, to pick up and tighten the thread of an authentic and sharp sensitivity. (…)” / Nicolas Marked

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