The wait is finally over for the most prestigious and anticipated cinema ranking of the year. Sight and Sound has officially dropped its Top 10 Films of 2025 list, crowning a new political masterpiece while sparking intense debate with some unexpected genre inclusions. This year’s selection bridges the gap between massive Hollywood productions and intimate, experimental experiments in a way rarely seen in the magazine’s history.
The British Film Institute’s magazine often sets the canon for high art in cinema. Their 2025 selection acknowledges a year defined by loud, bombastic statements from American auteurs. It also highlights a quiet revolution happening in international filmmaking. The list offers plenty of ammunition for cinephiles ready to argue over the state of movies as the year comes to a close.
A Year of Heavy Hitters and Political Unrest
It comes as no shock to anyone paying attention to the cultural conversation that Paul Thomas Anderson has claimed the top spot. His sprawling epic One Battle After Another lands at number one. This film has dominated headlines since its release. It serves as a bombastic, politically minded crowd-pleaser that captures the anxiety of the modern era. Anderson has once again proven his ability to mix high art with accessible, heart-pounding narratives.
Right on his heels is Ryan Coogler with Sinners. This film clocks in as the runner-up. Coogler has delivered a genre-bending experience that critics are calling a defining moment for American cinema. It is rare to see two American studio films top a list usually reserved for obscure European dramas.
These two powerhouses share a common DNA. They are both made by directors with “capital-S Something to say” about the current geopolitical climate. Both films have dominated online discourse since their respective releases. They prove that the theatrical experience is still the best place to grapple with complex societal issues.
Sight and Sound 2025 top films list rankings silhouette
Critic’s Notebook: The Top Two
- #1 One Battle After Another: Praised for its scale and political sharpness.
- #2 Sinners: Acknowledged for blending genre thrills with deep social commentary.
- The Trend: A return to “Big Cinema” that demands to be seen on the largest screen possible.
Festival Favorites Secure Their Legacy
While the top two spots went to the U.S., the rest of the top five celebrates the international festival circuit. Kelly Reichardt represents a quieter side of American filmmaking at number three with The Mastermind. This sly, formidable film adds another jewel to her crown of understated masterpieces. Reichardt continues to explore the fringes of American history with a unique, patient lens that Sight and Sound voters clearly adore.
Oliver Laxe’s Sirāt lands comfortably at number four. This placement is significant. It mirrors the acclaim the film received elsewhere. Iconic director John Waters also ranked the film at number four on his personal list. This consensus suggests Laxe has created something truly universal.
Kleber Mendonça Filho takes the fifth spot with The Secret Agent. This film has been a favorite since its premiere at Cannes. It also appeared on the Cahiers du Cinéma list at number four. It is fascinating to see the overlap between the French and British critical establishments this year. Usually, their tastes diverge more sharply.
2025 Critical Consensus Table
| Film Title | Director | Sight & Sound Rank | Cahiers du Cinéma Rank | John Waters Rank |
|---|---|---|---|---|
| One Battle After Another | Paul Thomas Anderson | 1 | N/A | N/A |
| The Secret Agent | Kleber Mendonça Filho | 5 | 4 | N/A |
| Sirāt | Oliver Laxe | 4 | N/A | 4 |
| Eddington | Ari Aster | N/A | N/A | 1 |
Controversial Genre Picks and Lo-Fi Experiments
Every Sight and Sound list needs a few choices that raise eyebrows. This year is no exception. The most polarizing inclusion is undoubtedly Weapons at number eight. Directed by Zach Cregger, this film is a follow-up to his breakout hit Barbarian. Critics generally agreed it was a fun ride. However, few labeled it “excellent” in the traditional sense.
Its inclusion here signals a shift. The voting body is embracing “vulgar auteurism” and pure entertainment value alongside high art. It validates horror as a genre worthy of serious critical analysis.
On the complete opposite end of the spectrum is Dry Leaf at number nine. Alexandre Koberidze has delivered a three-hour metaphysical mystery shot entirely on an old mobile phone. The film follows a grieving father in Georgia searching for his daughter. She vanished years prior while photographing soccer fields.
Sight and Sound describes the film as a “magic-realist road movie.” They note it follows in the tradition of Antonioni’s mysteries. This is a challenging watch for casual viewers. Yet, it represents the cutting edge of digital filmmaking. It proves that a compelling story matters more than the resolution of the camera.
The Best of the Rest
Rounding out the list are films that made waves at major festivals earlier in the year. The Palme d’Or winner It Was Just An Accident sits at number six. Its placement here confirms its status as one of the year’s essential texts.
Eva Victor’s Sorry, Baby claims the seventh spot. This was a massive favorite at Sundance. It is refreshing to see a smaller, character-driven indie stand tall among the blockbusters. Along with Reichardt, Victor ensures that female directors are represented within the upper echelons of the ranking.
Finally, Bi Gan’s Resurrection closes the list at number ten. This Cannes premiere brings the director’s signature dreamlike visuals back to the forefront. It ensures that Asian cinema has a strong foothold in the final tally.
Sight and Sound has provided a roadmap for what future generations will remember about 2025. It was a year of battles, sinners, and deep, metaphysical searching. The list invites us to look past the box office numbers. It asks us to engage with art that challenges our perceptions of reality.
We want to hear from you. Which of these films defined your year? Did the critics get it right, or did they miss a hidden gem? Share your thoughts in the comments below or tag us on social media using #BestFilms2025 to join the global conversation.
