Film critic Richard Brody has declared 2025 a standout year for cinema, unveiling his top three films of the year for The New Yorker and praising the way modern filmmakers are grappling with power, identity and resistance on a grand scale. According to Brody, this year’s strongest releases are not just entertaining but deeply political and emotionally charged.
@newyorker According to our film critic Richard Brody, 2025 has been a spectacular year for movies. But which films had the honor of making his best-of-the-year list? Watch to find out, and head to the link in our bio for his complete ranking—and be sure to comment below which movies you loved most this year. #movies #filmtok #bestof2025 #moviereview ♬ original sound - The New Yorker
He opens by arguing that 2025 has been “a spectacular year for movies”, adding that the best films are true spectacles because “they’re confronting power, the enormous social forces that shape and deform people’s lives, and that provoke resistance.”
Taking third place on Brody’s list is The Secret Agent, directed by Kleber Mendonça Filho. Set against a backdrop of political tension and historical upheaval, the film follows a scientist whose personal life becomes inseparable from the ideological conflict surrounding him. The story unfolds as both an intimate family drama and a sweeping political portrait, examining how private lives are shaped by authoritarian forces and historical violence.
Brody describes the film as “the film is a broad historical fresco evoked in granular historical detail. The scientist's family story is as passionate and as significant as the political conflict he's facing”. Premiering to strong acclaim on the international festival circuit, The Secret Agent was widely praised for its ambition and meticulous craftsmanship, with critics highlighting its emotional depth and layered storytelling. While not a blockbuster, it performed solidly in arthouse cinemas and became one of the most discussed political films of the year.
You can watch The Secret Agent on Apple TV here in Ireland. A monthly subscription is needed.
In second place is The Mastermind, directed by Kelly Reichardt, a filmmaker long celebrated for her restrained, contemplative style. The film centres on a character attempting to withdraw from societal expectations, only to discover that true escape is impossible. Rather than a conventional political thriller, the film examines resistance on a deeply personal level.
Brody explains its impact by writing, “it's more or less an act of rebellion, but not if potilical rebellion but of existential rebellion. Liberation from society, at large, liberation from oneself. Bad news. You can't really get away from yourself.” Critics embraced the film for its philosophical weight and quiet intensity, with many calling it one of Reichardt’s most mature works to date. Though modest at the box office, The Mastermind earned exceptional reviews and featured prominently on year-end critics’ lists across Europe and North America.
You can watch The Mastermind on Apple TV and MUBI here in Ireland. A monthly subscription is needed.
At number one, Brody’s choice surprised many: Sinners, directed by Ryan Coogler, best known for Black Panther and Creed. The film blends social commentary, mythological themes and raw emotion, centring on a love story unfolding amid systems of violence and oppression. Coogler’s film examines guilt, redemption and devotion, using genre elements to heighten its emotional impact.
Despite its heavy themes, Sinners proved a major commercial success, drawing strong audiences internationally and performing particularly well on its opening weekends. Critics praised Coogler’s bold direction and emotional confidence, with Brody writing, “For all of its social, political, and mythological investigation, it's very much a passionate love story. Coogler's filmmakin here is daring and wildly exciting.”
You can buy "Sinners" on Apple TV, Amazon Video, Rakuten TV, Sky Store as download or rent it on Apple TV, Amazon Video, Sky Store, Rakuten TV online.
With these selections, Richard Brody positions 2025 as a year where cinema did more than entertain — it challenged audiences to confront history, power and the limits of personal freedom, confirming that ambitious filmmaking remains very much alive.
