A Timely Farewell

2025 has offered a myriad of stories to be told on screen from many facets of direction. This year proved that original storytelling was not dead and that there was indeed a hunger for it, with the success of Warner Bros.’ slate of films. From titles like If I Had Legs I’d Kick You to F1, there were so many great films to make their debut and move the audience to a chorus. The diversity slated for this year offers many unique experiences that will be remembered as bold and willfully risky.

In particular, the crown jewel of cinema this year was the narrative that most films shared, more so than not. The majority of films released this year were personal; if they weren’t, they were timely; and if they were neither, they were both. The personal and timely narratives showcased in film this year felt like a visceral reality check for filmgoers and cinephiles alike. Many life-changing, cathartic, and therapeutic moments were offered on screen; whether you were watching Splitsville, Die My Love, or Together, there was something to gain from the experience. Many illustrious films were released this year, which are more than worthy of celebration, but these titles made the final cut.

Train Dreams

Clint Bently and Kewdar’s adaptation of the novella Train Dreams is a personal cinematic experience that the year has offered like no other. The perspective given to the film beautifully showcases the perspective of one character, chronicling a piece of lost history and many forgotten lives in the South Pacific. The perspective through the protagonist was honest and atmospheric beyond anything. The film’s earthly yet showy cinematography abounds in the film, giving every shot life and meaning beyond the heartache and experience of life. Joel Edgerton’s turn as Robert Grainer is nothing but spectacular. His presence with humans, nature, and animals alike is something to behold, as everything in this film is an important moment in time, which contributes to Grainer’s dedicated life as a logger. The supporting cast, including Felicity Jones, Kerry Condon, and most notably William H. Macy, is well insulated as very important moments in Grainer’s progressive timeline.

It Was Just An Accident

Jafar Panahi’s directorial turn in It Was Just An Accident is painfully indigenous to his prior persecution by the Iranian government. Due to Panahi’s restrictions with the Iranian government, he made this film in secret to make sure that it would not have to be approved by a regime that has inflicted so much rancor upon his artistry. It Was Just An Accident is a response to the oppression that many have faced due to this abusive and life-altering regime. The film follows a group of former Iranian prisoners who were among the few who were able to survive prison and repair their traumatic lives the best way that they could. One in particular is a cab driver and TV programmer who recognizes his oppressor and kidnaps him. When doing this, he enlisted the help of his prison subordinates to shed light on the fact that the person he kidnapped was the right oppressor. The film weighs on itself when it comes to personifying exactly what revenge looks like, especially when a second shot at life is given. The intense dialogue, hilarity, and revelations, all of which take place throughout the film, make it a passionate experience that will always shake its audience, especially in its final scene.

Eddington

Ari Aster’s 2020 politically charged allegory in Eddington is an ominous delight. The film’s themes of delving into COVID, BLM, and political affiliation lead to an epic pressure-cooking payoff. The subtlety that the film basks in the beginning is slow but easy to follow, which turns into a politically charged rivalry between a red-pilled sheriff and a diplomatic mayor. As reelection is on the horizon for the mayoral seat, the heated rivalry between the duo becomes even more personal and spirals into madness in the most cultish and impulsive ways imaginable. The political message regarding the film is a bit too recent, but it hits the nail on the head as to the events that took place. The heart of the film is its conspiracy elements because everyone in this film has chosen a side, and it’s not as nuanced as the audience may want it to be, which makes the narrative even more invigorating. Essentially, Aster made this movie to make fun of the left and the right during a moment in time where people were dying in masses, while people were freaking out over personal biases in a small town. As rivals, Joaquin Phoenix and Pedro Pascal bring this politically charged film to life, followed by a well-rounded supporting cast in Emma Stone and Austin Butler.

The Secret Agent

Kelber Mondoca Filhio’s Brazilian mystery thriller, The Secret Agent, is an intricate piece of filmmaking that never lets up. The film follows a technologist who flees São Paulo to return home to Recife during the week of Carnival, during the time when Brazil was under a dictatorship, to escape his past and start over. The film sets a very somber tone that is slow, but in time, it pays off as the film never fully reveals its hand. Every time something pivotal happens, the film takes a few steps back and makes up for it as the film goes on and repeats itself until its historic end. At the heart of the film, it is a beautiful love letter to Brazil in the midst of disparity and leadership. The Brazilian leadership that precedes the film is wonderfully explored through a tense narrative that haunts the protagonist. Wagner Moura gives an amazing all-time golden era performance that is worthy of praise beyond the screen, as the film relies heavily on his sensibilities.

No Other Choice

Park Chan-Wook’s take on a competitive job market in No Other Choice is delectable. Turning a subject that is so touchy yet timely for many into a darkly comedic way is nothing short of brilliant. Wook’s dark storytelling is enticing as it follows a career man who loses his job and has to eliminate his competition one by one to secure a new role. The outrageous decision and the sharp yet witty dialogue elevate the film beyond its immaculate premise, leaving its audience in awe while on edge, looking to see what happens next. With every twist and turn that the film takes in the end, it is an intelligent piece of filmmaking that deserves its flowers for its risky, versatile choices. In the end, with everything laid out thoughtfully, Wook’s instinctive direction gives this film an eccentric yet grand closing. Lee Byung-hun’s dedicated performance gives the film its much-needed focus, and Son Ye-jin’s presence is beautifully interwoven into the film’s narrative.

The Testament of Ann Lee

Shifting from writing and producing to directing, co-writing, and producing, Mona Fastvold’s The Testament of Anne Lee is intoxicating. The story of Ann Lee is one of persecution and religious radicalism that wasn’t fully tapped into at the time. Lee’s pursuit of religious greatness is one of the few done by women but dedicated nonetheless. Amanda Seyfried’s performance is voyeuristic as she assumes power as the leader of the Shaker Movement in her pursuit to flee England and settle in America. Seyfried’s euphoric direction on screen is a tour de force from many facets that only grow even more incisive as the film moves along. Fastvold’s musical perspective is spot-on and really intricate to the film’s tone and flow, exuding unorthodox movement and eccentric hymns. The film serves as a religious musical that won’t be forgotten for its American exploration and its musicality, which encompasses unorthodox movements that will have many rejoicing.

28 Years Later

Danny Boyle’s post-apocalyptic return to the 28 Years Later series is more than timely. The film shows what the Rage Virus has done to the world nearly 28 years later than the previous film. Unlike the previous films, which are all adventures for survival, this one is more so a contained story about a son’s love for his mom. The story takes a turn about finding a cure for cancer, for one, when there are many who could benefit from a cure for the Rage Virus, enlightening the story’s roots for its audience to see the realism from a universal lens. The film’s emotional journey finds the franchise exploring new territory that is only just the beginning of a continued story. Ralph Fiennes gives an amazing performance as one of the last doctors standing, and Jodie Comer delivers an awe-inspiring performance as a cancer-stricken mother fighting for her life in the midst of an apocalypse.

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Dead Talk Tales: Volume 1 (2024): A Review

Materialist

Celine Song’s sophomore film, Materialist, serves as an honest take on modern dating. On the surface, one would think the film is a romcom; in reality, it’s a romance drama that calls out materialism in relationships and the hardships of finding a lifelong partner. Dakota Johnson does an exceptional job as a matchmaker who has to choose between a rich Pedro Pascal or a struggling Chris Evans. A key theme in the film is power dynamics by way of consent. The importance of this moment in the film is a bit overlooked and a bit understated, as it takes an even deeper look at how dating can be dangerous based on the constructs that have metabolized over time. Song’s strength lies in the endearment of imperfections and insecurities, which are often seen as a deal-breaker in relationships. The need to radiate inclusion, love, and care is what Song emotes, and she does so by calling out those who are upholding preconceived preferential red flags.

Sorry, Baby

Eva Victor’s directorial debut, Sorry, Baby, is raw in the most striking ways possible. The film follows a young woman, whom Victor plays, who has had something bad happen to her. The way that Victor handles the conflict that looms in the film is beautifully done thanks to her stellar introspection through an immaculate screenplay. There are many monologues that, for some, may be painfully familiar and just saddening for those who have heard of such incidents. The thought of moving on from an incident takes the film to new heights as it gives perspective as to what Victor wants to happen on her healing journey that spans over 5 years. Nonetheless, Sorry, Baby is an amazing take on how to move on from a traumatic tragedy that will always leave a mark, no matter how hard you try to move, because, unfortunately, bad things are going to happen in life.

Weapons

Zach Creegers’ sophomore film, the horror mystery Weapons, is in a league of its own. The film Magnolia’s inspired structure elevates the film’s severity, as there is darkness surrounding the mystery of a small town. The thought of kids walking out of the home at 2:17 AM is horrifying enough, but the reasoning behind it is even more sinister, and Cregger handles the storytelling well. The film continues to build with new questions after a pivotal character’s arc is concluded. It becomes known to the audience that every pivotal character is used as a weapon to convey an unwavering agenda in some way as the film continues to unravel. The performances from Julia Garner, Alden Ehrenreich, Josh Brolin, and Benedict Wong are exceptional, but Amy Madigan’s Aunt Gladys is the film’s most prized possession. Madigan’s turn as Aunt Gladys is enthralling and gives the film new life. Cregger’s mystic originality is one to be remembered with weapons, as it is not only a horror mystery but also a hilarious comedy as well.

Hamnet

Chloe Zhao’s fictional emotional adaptation from Maggie O’Farrell’s novel Hamnet is a glorious tragedy. Zhao’s direction has always been sentimental, but with Hamnet, her innate sensibilities kick into high gear. Zhao’s look into the life of William Shakespeare through his wife Agnes is the film’s sole focus. Her journey through marriage, family, tragedy, and grief pulls the film together, making its familial storytelling well-balanced through pain and progression. In between these moments, William Shakespeare’s notoriety as a playwright continues to gain traction. While showcasing unconditional love through all of his lived endeavors, showcased on screen, he takes those moments and brings them to life in a way that the audience can learn, reflect, and grow through interpersonal connection. The film’s climactic ending gives not only Agnes but also the audience the opportunity to release every emotion that was taken in while experiencing the tragedy that is Hamlet. Jessie Buckley, Paul Mescal, and Jacobi Jupe give amazing performances, making the film even more transcendent than the subject matter entails.

Marty Supreme

Josh Safdie’s first directorial debut, Marty Supreme, without the accompaniment of his brother, is a spellbinding, triumphant success. The marketing campaign surrounding the film has been targeted under the guise of dreaming big, and the film lives up to that through Timothée Chalamet’s flawed yet woefully ambitious Marty Mausser. The film follows Marty’s need to fulfill his dream of being a pro ping pong champion, with his strong skill set and adolescent sensibilities hindering his progression at every turn. Even more with his relations to others, the film showcases that risk and reward are, in fact, binary. The need to be successful and the sacrificial consequences that come with it don’t apply to Marty, which makes him polarizing but hard to let go of. Josh Safdie’s solo directorial debut was not only a fast-paced success but also promising, with high stakes, an amazing ensemble that all held their own, and a career-best performance from Timothée Chalamet.

Sinners

Ryan Coogler’s vampire horror flick in Sinners brings a new variety to the theme and social commentary. Coogler’s originality and singularity work hand in hand to cultivate the world around Sinners, and it is beautifully depicted as a project that spans Black history and the genres that they brought to American history. With an all-star cast and a well-balanced ensemble, the film offers many iconic and spellbinding moments that will be ingrained in film history and will stand the test of time. The depiction of the characters only knowing freedom is very indigenous to the travesties that people of color have faced for centuries in our country due to discrimination and terror. The film’s aspect of showing its characters’ happiness before terror was beautifully orchestrated, making for a memorable experience. The horror elements fused with the film’s dramatic elements were a testament to the film’s raw and intense writing, which is visceral and staggering. Coogler’s respect for genres and the inception of Black history in music as a collective serve Sinners as a unique, triumphant statement piece.

Sentimental Value

Joachim Trier’s follow-up to The Worst Person in the World is an artistic exploration of familial dysfunction. The film follows a director who abandoned his 2 daughters and his pursuit to come back into their lives while trying to come to a conclusion on what to do with their family home. One of them is a stage actress, and he wants her to take a role in his film, which is tailor-made for her. Her refusal to do so causes him to find a well-loved actress to take the role in hopes of filling that void. The film tries to be a character study on familial dynamics by displaying moments in time to show the trauma that all of the characters are plagued with. The film’s soft spot is its brutal honesty, which comes to a head as the film grows stronger. There is a silver lining in the end, which may be a bit familiar for some, that is agonizing, but it’s innate because value is not always relational but memorable. Trier’s greatest possession with this film, aside from its impeccable writing, is its cast, with Renate Riensve, Stellan Skarsgard, Elle Fanning, and most notably Inga Ibsdotter Lilleaas, who is the film’s greatest achievement.

One Battle After Another

Paul Thomas Anderson has always been a scholarly auteur filmmaker with an immaculate catalog. With One Battle After Another, he continues to follow that line of success. The film, unfortunately, is in tune with a lot of monstrosities that are haunting the United States in this current moment. Anderson’s understanding of this elevates this adaptation of Thomas Pynchon’s novel Vineland on a vulnerable yet personal level. Anderson has given many detailed and unique narratives, but this is his biggest and boldest to date. There was so much to work with here from the writing, cast, stunts, and cinematography, and it all came together very well, serving as a new facet in Anderson’s direction as a filmmaker. The film follows a group of revolutionaries on the hunt after one of their former enemies resurfaces with a new lease on life as he is trying to kidnap one of their children. As the film builds beyond its overarching conflict, the film falls into a race against time as it is the end of the world for everyone involved. All of this was caused by a selfish act of power, showing itself to be an even bigger battle than a successful case. The most sincere element of the film is that this was a personal account of Paul Thomas Anderson’s relationship with his daughter. This relationship birthed a fiercely heartfelt and timely film that will inspire many to continue to fight against oppression, no matter what battles are ahead, because if there already is one, there is another in the making, which will be costly.