The 10 best movies of 2025

From January onwards, dozens of films released for the first time in 2025 somewhere in the world reached Argentine screens (this cut is to leave out those that were released in South America in January or February of this year, but had seen the light in other parts of the world at the end of 2024).

Some did well, others not so much, but all ten offered something different. A Anything else that made them stand out above the rest.

With this simple premise, a brief review – on a personal basis – by the ten best films of 2025 commercially released in theaters or platforms in Argentina.

Second part of a blockbuster released in 2023 that, with Monday’s newspaper, was stronger than the final.

Still, the closing of the Ethan Hunt saga is made up of action sequences that should make its inclusion on any list like this inevitable.

Tom Cruise escapes from the depths of the ocean and fights hanging from a moving plane to say goodbye to the character of his life. “Final Sentence” closes like this, in a big way, messy and with a nostalgic connection with the first film of a franchise from which much more cannot be asked.

Is F1 the best institutional of all time? A film that, in a time where new formats and immediacy prevail, is designed to be seen on screens. And today that is a lot.

Joseph Kosinski invents a team and places Brad Pitt and Javier Bardem at its reins. The blonde is an experienced and reclusive driver who could easily be a character from Clint Eastwood’s or Sam Peckinpah’s twilight westerns, and F1 works a bit that way. Its protagonist, instead of riding a horse, rides cars and breaks the rules like a good lawless man.

Although neither in the development nor in the outcome it surpasses the impact of its spectacular start, “Evolution” reinvents the rules of its own world, which until then seemed closed.

Does taste buds in respect of that had been seen in its two predecessors. It inaugurates a new world full of questions and with very interesting potential.

The actress and director Dolores Fonzi adapted for the cinema “Somos Belén”, the book by Ana Correa about the real case of a girl from Tucumán who was tried after suffering a spontaneous abortion.

“Belén” is an Argentina 1985 with a lower budget: because of those who participate, because it stars a vigilante duo, because the state is the enemy, because of its use of pop culture, because of its ability to challenge and confront injustices.

Few films respect a slogan as tenaciously as “Walk or die.” You have to dare to commercially release a film where every minute that passes is worse for the viewer…. A cold and cruel but effective decision to narrate suffering and desperation.

In turn, the fact that the premise of the plot is “either walk or die” gives rise to a series of relentless technical resolutions that make the camera, the narrative device, lead us on the long march.

A bombshell letter from Paul Thomas Anderson that dialogues with the present and marks it in time.

A group of sequences that surpass one another in drama make up a universe with its own rules (although borrowed, in part, from Thomas Pynchon’s), where the characters feel, at times, much more alive than in reality.

Director Ryan Coogler perfectly understood what the public needs to value those insipid films about African-American history that decorate the Oscar nominations every year.

In this case, he boldly takes a representative character of horror – vampires – and involves him in an unprecedented context to kick the door hard.

“Sinners”, disorderly and shameless like almost no other, endangers the most precious assets of human beings, family and art, and appeals to the epic to fight for them. Like Quentin Tarantino in Inglourious Basterds, like Baz Luhrmann and his musicals. A Hollywood pastiche like no other, like Coppola’s Megalopolis, was already valid for its existence.

The film with the greatest capacity to generate surprise of the year. An entire class except for one child disappears on the same night and the parents try to find explanations. Thus begins this horror story from the director of “Barbarian”, its younger cinematic sister.

“The hour of disappearance” has the virtue of deception, of trickery. Nobody ever knows where it’s going to go, and what could be more fun for a blockbuster that is sold as just another horror blockbuster. The film allows itself to travel through multiple genres, multiple meanings, multiple stories, multiple laughs and multiple scares.

JB Mooney, played by the always captivating Josh O’Connor, is a defeated family man and art fanatic who one day decides to turn his life around and more or less lightly orchestrates a museum robbery.

Set in the seventies, with a calm and unpredictable cadence like its protagonist, “Mastermind” narrates resignation with a grace and originality that makes this heist movie seem like anything but a heist movie.

Shortly after releasing “It Was Just an Accident” – and winning the Palme d’Or at Cannes with it – Iranian director Jafar Panahi was sentenced to a year in prison for “propaganda against the system” of his country.

In his work, he discusses and exposes the regime with a height capable of evading any border.

In his latest film, hilarious and terrible in equal measure, he narrates the adventures of a group of former guerrillas who kidnap a man thinking he is their torturer. The issue is that they are not very clear about it.