The initial six months of 2025 are behind us, so it is a perfect time to look back and name the best films of 2025 so far. Following a triad of profoundly lamentable years, 2025 has proved to be a year where festivals presented surprisingly good films. There were also several deplorable instances of films that gave me the opportunity to flex my disapproving muscles, but they might be a topic for another list. Let’s dive into the good one.
8. Reedland
Sven Bresser’s debut feature Reedland (Rietland) was screened in the Semaine de la Critique section. That is the strand in the Cannes Film Festival that has consistently provided positive surprises over the last five years. During this edition, the stunningly shot film about a reed cutter who suddenly finds a corpse was the standout of the year. I explained why in my review, and I also had the opportunity to interview the director.
7. Two Times João Liberada
Two Times João Liberada (Duas vezes João Liberada) also marks Two Times Debut Features on this list. Paola Tomás Marques’ first feature was a major revelation at this year’s Berlinale. It was screened in the new Perspectives section, dedicated to debutants. It is an intelligent and playful work that depicts the filming of a film about the fictional, titular, gender non-conforming character. I described why I liked it so much in my review, and also in this case, I was fortunate enough to have a stimulating conversation with the director. The Perspectives section was a highlight of the Berlinale, which leads us to…
6. Growing Down
Since Growing Down (Minden rendben) was screened in Perspectives as well, it is obvious that we are dealing with Bálint Dániel Sós’s first feature. This stark story, shot in black and white, was another highlight of the new festival strand. Where can you read more about it, you ask? How about my review of the film?
5. Sound of Falling
Mascha Schilinski’s sophomore film, Sound of Falling (In die Sonne schauen), was surrounded by a lot of buzz long before it landed on the Croisette to start the Cannes competition. Reactions were split after the screening, but I stand by the statement that this is the most ambitious Cannes competition film since EO in 2022. I describe the debate and share my thoughts on the film in my in-depth review.
The best films of 2025 so far – The top four
4. The Disappearance of Josef Mengele
The Disappearance of Josef Mengele (Das Verschwinden des Josef Mengele) is the first film by Serebrennikov in some time that didn’t make it into the competition. Why is anybody’s guess since it’s a splendid work, not least cinematically. I reviewed this film as well and discussed some strange reactions to it.
3. Sirát
The second-day screening in Cannes of Óliver Laxe’s fourth feature, Sirát, left no one indifferent. The feelings for and against were audible, not least during the second part of the film. Considering its content and how it is connected to the form, this is no shock, but the film might be for some viewers. My review of Sirát is the one from Cannes that divulges as little as possible about the film. That is no coincidence.
2. The Secret Agent
I would be lying if I said that I went into the screening of The Secret Agent with high expectations. Paired with the fact that I didn’t manage to get a ticket to the gala screening, but had to settle for the fairly awful Salle Bazin, it didn’t exactly make me more excited. However, the film did, and almost immediately. It turned out to be the best film of the festival and won two well-deserved awards. I explained why I liked it so much in my review.
1. Reflection in a Dead Diamond
Reflection in a Dead Diamond (Reflet dans un diamant mort) is the fourth feature film directed by Hélène Cattet and Bruno Forzani. I wasn’t entirely sure what to expect from this. When French directors land in the Berlinale competition, the outcome is not always great. Maybe the fact that this is a Belgian production (like all the couple’s features) made a difference. Probably not. In any case, this is the duo’s best film to date, and an obvious candidate for the best film of the year. Did I explain why in my review? I’m not sure, but I tried to describe this multifaceted work. It was also a pure joy to interview Cattet and Forzani.
If someone had told me at the beginning of 2025 that I would like eight films this much by the end of June, I would have laughed. It remains to be seen what the rest of the year will bring.