Most year-end lists feel identical to each other, professional or otherwise. This is due to the availability of the blockbusters, prestige films, and festival winners that everyone is already aware of. I prefer to seek out the films that have only begun their festival runs, seeking their future distributors, or perhaps a foreign film that has yet to be available outside of their home country. I will post my top 25 2025 in the near future, and another list later in 2026 to compare, as well as a top 2024 list as I find said gems. As of now, here are the 2025 films I am most looking forward to.

OBEX – Albert Birney

“Conor Marsh lives a secluded life with his dog, Sandy, until one day he begins playing OBEX, a new, state-of-the-art computer game. When Sandy goes missing, the line between reality and game blurs and Conor must venture into the strange world of OBEX to bring her home.”

From the director of the great anthology film Tux and Fanny, my interest was already piqued. OBEX also seems to be a nostalgic yet more disturbing look into technology, with the specific use of how video games can affect one’s isolation. The comparisons to Guy Maddin and Carlos Reygadas by critic Justin LaLiberty only makes me more interested in how it may upload a surreal twist into technology.

World at Stake – Susanne Flock, Adrian Jonas Haim, and Jona Kleinlein

“A football team warms up for the World Cup final, a golfer gets ready to take his first shot, and a rally duo sets off on a test drive, while their audiences watch in eager anticipation. The air is tense, a storm is brewing, but all eyes remain fixated on the match. With masterfully manipulated footage from FIFA 23, PGA Tour 2k21, and DiRT Rally 2.0, Total Refusal (Susanna Flock, Adrian Jonas Haim, Jona Kleinlein) lays bare the rules of the game.”

The machinima genre is one of the most fascinating cases of experimental cinema. Using philosophical aspects of video game players such as the documentary Knit’s Island, or the Benning and even Michael Snow approaches to video game environments such as Fourth Era and RGNCNTRL, they are environments that can showcase its use of escapism and different environments to make something truly unique. This film seems to strike that balance between philosophy and experimentation, making a potentially perfect case of what I look for with machinima films.

Punku – J.D. Fernández Molero

“Iván is found unconscious with an injured eye in the jungle. As Meshia reunites him and his family, she is drawn into a foreboding journey. A disturbing look at Peru’s cultural contradictions shot on a coarse mix of analogue and digital formats.”

Although cinephiles comparing films to Lynch can be tiresome, as it’s usually a case of “this film is weird,” the comparisons between this film to Lynch are constant in reviews, perhaps making this a true case. The trailer is a fascinating case with using different mediums and showcasing different filming styles and environments, with the potential use of surreal folklore, would make for a hazy and atmospheric experience.

Space Cadet – Kid Koala

“When the astronaut Celeste blasts off into space on her first solo mission, the guardian robot that has accompanied her throughout her childhood is left alone to wonder: What now? A tomorrow-days lullaby about finding your place in the universe.”

Kid Koala was one of the most interesting producers in projects such as Deltron 3030, and he recently found a shift towards other mediums. He mostly deals with mediums that deal with a childlike wonder. This is an adaptation of his graphic novel, has an interesting soundtrack with artists such as Karen O and Digable Planets, and has a cute animation style that I believe would fit not only the plot, but the overall vibe of the film.

Escape – Masao Adachi

“In 2024, Kirishima Satoshi, a wanted member of the East Asian Anti-Japan Armed Front, passed away after he gave his own name at a hospital.”

A pinku film director who made the fantastic essay film A.K.A. Serial Killer is going towards a filmmaking style that Kai Perrignon description as “late Eastwood style.” With pinku films, it already establishes himself as someone who aims for more subversive cinema, therefore someone who matures enough to aim for a genre such as this is fascinating. From the descriptions of various critics it is someone who utilizes his own age to show how it can affect radicalism and the overall morality of life itself. That very aspect makes this entry interesting enough for me to watch when it comes out.

Fucktoys – Annapurna Sriram

“A cursed young woman sets out on a wild fundraising adventure through Trashtown, USA, after she’s told by multiple psychics than she can break the curse by paying them $1000.”

Initially expecting something like The Love Witch, this comes across as something more akin to a slice of life sort of approach, where its teaser trailer reminded me of the work of Sean Baker. Utilizing the exploitative aspect of psychics and curses may bring a more unique aspect, and if properly done right, director Annapurna can take advantage of this by utilizing a more midnight cult style aspect to this to help make it stand out even more. I can’t wait to find out what she does with this.

BUM – Anthony Leroy

“A freelance news crew and a hotshot reporter search for a violent vagrant and get more than they bargained for.”

Director Anthony Leroy is one who utilizes a throwback style to SOV horrors with his short films, with this short being his most ambitious project yet. I find the recent throwbacks interesting, especially the works of Joe Meredith, as they feel even more sincere than the films that came out during their time period. This entry seems to be self-aware, which may hinder it, but it is that I’ll be watching closely.

Magellan – Lav Diaz

“In the 16th century, young and ambitious Portuguese navigator Ferdinand Magellan rebels against the power of the King of Portugal, who doesn’t support his dream of discovering the world, and persuades the Spanish monarchy to fund his bold expedition to the fabled lands of the East.”

I found myself underwhelmed by most of Lav Diaz’s work. He’s one who aims for ambition by the staggering runtime of his films, but as they miss the stylized aspects of works such as say, Bela Tarr, and that they typically fall under a more classical narrative that deals with similar topics, they are ones that don’t interest me. This seems to be his most ambitious project yet with not its runtime, but thanks to the intriguing cast, especially Gael Garcia Bernal. I am curious to see the final result of this film.

Pillon – Harry Lighton

“A timid man is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.”

We are entering an age where the zoomer generation on social media find themselves to be against sex in cinema. It did lead to a movement of films that are becoming more rare in that aspect. I found that repulsive as sex in cinema can be used to show characters at their most vulnerable, can work as a great joke, and sometimes sex is just great to watch. With the film Anyone But You, and potentially this film Pillon, I love to see a twist in films that not only play with sex itself, but with the power dynamics regarding it. This is one that may deal with the psychoanalysis of those aspects quite well, and I am more than interested to see how they will actually be dealt with.

Yes – Nadav Lapid

“Israel, in the aftermath of October 7. Y., a jazz musician struggling to make ends meet, and his wife Jasmine, a dancer, sell their art, souls and bodies to the elite, and bring pleasure and consolation to a bleeding nation. Soon, Y. is given a mission of the highest importance: setting to music a new national anthem.”

This immediately reminds me of Brother in Every Inch. Both films seem to be an act of subversion that not only subvert the audience, but also use state-funds to create those works. It is the ultimate fuck you to their government. This seems to be of great importance considering the ongoing genocide that reached its apex since the October 7 incident, and using an overall insane approach to its form and content to bring an overall insane work that I hope will be remembered for the ages.

In the Grip of Terror – Lawrie Brewster

“With a central theme of the medical macabre, Amicus Productions’ new anthology draws inspiration from the iconic British horror label’s 1960s and ’70s classics “Dr. Terror’s House of Horrors,” “Tales from the Crypt” and “Asylum,” and spotlights four tales rooted in the works of revered authors such as H.P. Lovecraft, Ambrose Bierce and E.F. Benson.”

Perhaps the most worrisome entry for me in this list, but also my most curious one. It is an anthology film that was funded by Kickstarter, and seems low budget in a way that could be a turn off; however, it is made by Amicus Productions. They were the ones responsible for being Hammer Horror’s rival from decades ago. This may be a sincere throwback to the era where that alone may warrant a great film. The photos of Megan Tremethick are especially interesting as she is beautiful in that 50s-60s Hammer Horror way that would fit perfectly in a film like this.

Dog of God – Raitis Ābele & Lauris Ābele

“In a 17th century Swedish Livonian village, constant rain and drunkenness prevail. When a stolen relic sparks witchcraft accusations, an 80-year-old self-proclaimed werewolf named the Dog of God arrives with a mysterious gift: The Devil’s Balls.”

This may fall under the edgy sort of animated films that use that under the guise of a mature film, yet this is still one that I find interesting. It is a film that goes for a more old school approach to animation, and is one that mixes a lot of psychedelia into its style. If it’s akin to works such as Belladonna of Sadness then it is one that may be successful.

Fuck the Polis – Rita Azevedo Gomes

“Twenty years ago, believing she was doomed, Irma took a trip to Greece. Today, she retraces that journey, accompanied by three young men. From island to island, between sky and sea, the travelers read, listen and live, carried by a longing for beauty and clarity.”

I was already excited to find out that Gomes, who directed a personal favourite of mine called Fragile as the World, is still great praised works. This is one that deals with a simple film that showcases culture, as per Filipe Furtado on letterboxd, and Sérgio Alpendre compared the work to Oliveira and Monteiro. It makes me fascinating to see how a sort of road movie will work with those comparisons.

Anything That Moves – Alex Phillips

“Divine sex worker, Liam, bikes through Chicago delivering snacks and pure satisfaction to his love-hungry clients, while a serial killer begins targeting his clients that leaves a trail of blood to his innocent lover’s own bed.”

The constant comparisons to a sincere throwback to 1970s grindhouse is refreshing to see. For example, the movement of grindhouse in the early 2010s reeks of it being a gimmick, of the directors thinking that added a bit of dirt or cracks on the screen are enough. There are comments that this applies the actual mood of these transgressive works. Although it doesn’t work all the time, it is one that may at least be a memorable watch.

Taroman Expo Explosion – Ryo Fujii

“Osaka was the the site of Expo ’70, and among the most memorable elements of the event, standing to this day, is the “Tower of the Sun”, a 70-metre-tall sculpture/building envisioned and designed by renowned artist Taro Okamoto, who some call “the Japanese Picasso”. This film is a theatrical adaptation of “TAROMAN”, a tokusatsu series re-envisioning Okamoto’s most famous pieces as surrealist superheroes and villains, with Ultraman-like TAROMAN, based on the Tower itself, at the forefront of it all.”

This seems to show the perfect stylized aspects of older Japanese maximalist cinema that will simply entertain people while also become a mind numbing experience. Although the clips do make it seem like it may be an overwhelming marathon, especially with its two hour runtime, it is one that seems original enough that one would pull through and always find themselves interested rather than exhausted.

Late Fame – Kent Jones

“A long time ago Ed Saxberger wrote a book of poetry that no one ever cared about. When a group of young artists rediscover his work, he must reassess his genius. The wild card in the group is Gloria, a talented and mercurial theatre actress who toys with affections and who is all set to be admired by Saxberger.”

The journey towards an artist’s work is unpredictable, and this may showcase the many different results of what would happen to one. Will one be praised now? In the future before, or after, their death? Or never? If it’s the latter, is it worth doing so? This seems to be a film that would ask such questions, and with a great looking cast it may do so successfully.

Motor City – Potsy Ponciroli

“In 1970s Detroit, John Miller falls in love with the girlfriend of a local gangster. To get revenge, the gangster sets up a frame-up to send the innocent man to prison. With his life ruined, Miller plots revenge against the man who took his girlfriend away from him.”

It is tough to find genre films before they come in, especially the lower budget DTV ones, forcing one to explore into its depth, usually finding failures. This seems to be an exception thanks to it already gaining some hype. There is practically no dialogue in this, and instead aims for machismo in the only place where it matters: the genre itself. With this potentially stylized film, it is one where if it focuses on the only area where it matters, that it may become engaging.

Barrio Triste – Stillz

“On the outskirts of Medellín, Colombia in the late 1980s, local residents report strange lights descending from the sky. When a reporter arrives to investigate, a ragtag group of teens from a lawless neighbourhood storm the scene and steal his camera. In the hands of its new owners, the device records a mesmerising plunge into their frantic existence.”

The fact that Harmony Korine and Arca being involved already makes this one my most hyped entries in this list. The fact that the trailer reeks with nihilism and sincerity only makes me more interesting. It has a more in-the-gutter sort of feel to it from the trailer, and is described as an attack on the senses. Since Korine’s EDGLRD Productions have already accomplished this with two hyper stylized works, I’d love this how it’s handled with something more “realistic.”

Last Night I Conquered the City of Thebes – Gabriel Azorín

“On a cold winter afternoon, António and Jota return from the front with their friends, looking for an ancient Roman thermal bath. They joke with each other while wading through swamps, recounting past tactical glories. The baths have appeared after a long time spent under the water of a reservoir, and people of all ages curious about the discovery come to spend the day. But there is something mysterious about these thermal waters – as if the baths influence the mood of the men, giving them the courage to say things they have never told anyone. As day turns to night, they confess their feelings and their fears of losing their best friend forever.”

Using the baths as a sort of refuge may have a fascinating symbolic form to it. One where they may find themselves at ease, and in a setting where it provides them with a comfortable yet slow-paced atmosphere. Thebes references itself to two ancient cities, and I wonder if there may be a connection between the two.

Endgame – Alejo Moguillansky

“Pin de Fartie unfolds as a playful spin on theatrical adaptation and an experiment in character dynamics. The film charts three relationships defined by Samuel Beckett’s 1957 play Fin de Partie (Endgame): one between a blind man and his daughter; another concerning two actors rehearsing that same text; the third following a man who reads his blind mother Beckett’s play and discovers that it reflects their lives.”

It is difficult to find the most information about this; however, it is one from a praised director, has a fantastic poster, and an intriguing plot. It seems to use Beckett’s play in a more humorous and playful way that may come across as silly in the best way possible.

The Tree of Knowledge – Eugène Green

“Gaspard, a teenager from the suburbs of Lisbon, falls into the hands of the Ogre, a man who has made a pact with the Devil. The Ogre uses the boy to attract tourists, whom he transforms into animals and then kills. Gaspard escapes with a donkey and a dog that he has grown fond of, and in an enchanted manor, he meets the spirit of Queen D. Maria I.”

Eugene is one who I always followed. A director who doesn’t take himself too seriously, yet is one who utilizes great themes into his films alongside stylized non-acting that fits into his overall aesthetic. This seems to have a more original plot than usual for his work, and combining his usual style alongside that may result in an even more fantastic piece of work than usual.

Luger – Bruno Martín

“Rafa and Toni are two hustlers who work for Angela, a lawyer with flexible morals who offers her clients quick solutions outside the law. The story unfolds over the course of a frantic day in a labyrinthine industrial park, when they are tasked with recovering a stolen car belonging to one of those clients. In the trunk, they find a mysterious safe containing a relic from World War II: a Luger P08, highly coveted by dangerous figures in the underworld.”

Upon seeing Reichardt’s The Mastermind, it shows the importance of adding complications to an act of crime. Although subversive, it results in an underwhelming film if every aspect goes smoothly i.e. The Bounty Hunters. This films seems to be one with some great street thug action spectacle while also focusing on said complications, right down to utilizing side plots that become a focus into said initial act of crime. If they engage with a vast array of different settings and action sequences, then this may be a hidden gem.

CAMP – Avalon Fast

“A story of impossible redemption, feminine power, and duels that repeat themselves like cursed cycles.”

My initial worry judging from the letterboxd reviews is how esoteric this may be. There is also the blend of reviews on letterboxd saying this is dreamy, yet a clip on YouTube shows a more realistic quality to it. Perhaps it may be one that combines both aspects well enough, through the act of simply using vibes, which alone can accomplish so much. I am curious to see how they approach this.

Home Sweet Home – Wojtek Smarzowski

“When Gośka meets Grzesiek online, she’s sure he’s her Mr. Right. Grzesiek is crazy about her, showers her with flowers, and proposes in Venice, but soon enough, the picture perfect romance starts to crumble, revealing a darker side.”

I am unsure if that tag is warranted, but rateyourmusic considered this to be an experimental film, so I immediately wonder how that will be played out. The trailer provides a lot of mystery, but it may just be sadistic enough to make this a compelling work, but one that is not edgy for its own sake.

Dead Souls – Alex Cox

“In 1890, the year of the U.S. census, chaos erupts when a stranger named Strindler arrives in a small town in Arizona and requests money for providing the names of dead Mexican laborers. Adapted from the novel by Nikolai Gogol.”

Although Repo Man is fun as a punk film, I found myself a lot more invested into his more formalist works, especially films such as Highway Patrolman. This seems to be deal with similar topics regarding America’s politics, and he may use his typical postmodern approach to such a topic, which alone would make it worth watching.

That summarizes the films I am looking forward to the most. There are still the films that completely lack distributors that are unknown to us cinephiles, and I hope they appear within the next few months. I hope to finish my current favourite films of the year list within the next two weeks as well. As for now, this will be a nice way for me to track which films to see in the future, and hopefully for you as well.