27. SKINCARE

Skincare was disappointing. I love Elizabeth Banks, and the concept sounded right up my street; however, against my expectations, Skincare doesn’t say anything meaningful about the beauty industry. It feels like it just wants to make fun of its characters, presenting a shallow exploration of its themes of fame, celebrity, and the image-obsessed city of Los Angeles. Overall, it’s thinly written with underdeveloped characters who I didn’t care about, the satire doesn’t cut deep enough, and the reveals are predictable. On the plus side, Elizabeth Banks is delightfully neurotic and the most entertaining part of the film.

26. SOFA, SO GOOD

I didn't love Sofa, So Good, but I must commend its quirky, shoestring-budget, indie style and delightfully simple premise. The film has an amusingly absurdist tone and offbeat humour, and the cousins at the centre of the story are very engaging. That said, I found that the surrealist elements felt forced in places and slightly distracted from the comedy. Even at just 69 minutes, it overstays its welcome and very much feels like a short film stretched to a feature-length runtime. Overall, though, it's a promising debut feature with a unique style and great performances.

25. THE WOLVES ALWAYS COME AT NIGHT

The Wolves Always Come at Night is beautiful, but not for me. I found the slow pacing challenging, and the story too wandering to hold my attention. However, the cinematography is gorgeous, especially scenes of the vast Mongolian landscape and the ferocious weather conditions. The film is at its most engaging when observing quieter, intimate moments between the family-friendly, and these are the times I enjoyed most. But I felt like I was missing the overarching point of the documentary, which is actually more of a re-construction of events that is more cinematic than factual.

24. A TRAVELLER’S NEEDS

A Traveller’s Needs baffled me. At no point did I understand where it was going or how it was going to get there. That isn't to say I didn’t enjoy it. Isabelle Huppert is incredibly enigmatic and watchable as the mysterious Iris, and the casually aimless plot is light-hearted and interesting, but I constantly felt like I was missing something. I assume this is because I haven't seen — or admittedly have any knowledge of — director Hong Sang-soo’s work, specifically his past two films starring Isabelle Huppert, which may have demystified it to an extent.

23. ELTON JOHN: NEVER TOO LATE

Elton John: Never Too Late is effortlessly entertaining thanks to the buckets of archival footage of Elton John’s incredible life and show-stopping performances from over the years. It features lots of intimate interviews where the star speaks frankly about the toughest times in his life, as well as candid moments where we witness him being a father and loving husband. The documentary reveals parts of John’s life I knew nothing about, but I would have liked more focus on the build-up to his final performance at Dodger Stadium, which surprisingly lacked tension considering the significance of the occasion.

22. THE NIGHTS STILL SMELL OF GUNPOWDER

The Nights Still Smell of Gunpowder is an atmospheric, deeply personal documentary with an unusual way of revisiting the past, and it reminded me of the meditative style of director Patricio Guzmán's documentaries about Chile's traumatic history. The film uses the language of cinema to explore intergenerational trauma, focusing on personal testimony, and utilises ambient sound to create a unique sensory experience. The documentary doesn’t provide an informative narrative about the subject, but instead a very personal account of how Cossa attempts to reconnect with his and his family's past, highlighting the lasting impact of the civil war in Mozambique.

21. SUGAR ISLAND

Sugar Island is a beautifully hypnotic film that explores a young woman's sudden entry into adulthood, alongside a myriad of weighty themes, including immigration, worker’s rights, colonialism, slavery, and lacking access to education. However, I felt the film's meaning was slightly lost on me because a lot of time is dedicated to rituals that are not explained, just shown (although I still loved the sensory experience of infectious music, sound, and vibrant colours). Many moments are injected with a sense of magical realism that is particularly compelling, and the performances are fantastic overall, especially Yelidá Díaz.

20. MY ETERNAL SUMMER

Sylvia Le Fanu's debut feature, My Eternal Summer, is quietly joyful and sorrowful, and I teared up just as much as I laughed out loud. From the perspective of Fanny (Kaya Toft Loholt), the film balances a touching coming-of-age narrative with the unfathomable experience of losing a loved one, showing the melancholic beauty and ugliness that comes with facing such an experience. The family is portrayed in realistic terms, and Fanny’s grief is explored in an almost matter-of-fact way that shows the family dealing with the mother’s illness and the inevitability of her death in a “slice-of-life” approach.

19. SEPTEMBER SAYS

Although September Says starts stronger than it finishes, this unsettling film explores darkly compelling themes of identity, sisterhood, and manipulation, with incredible central performances by the two sisters (Mia Tharia and Pascale Kann). They create a sense of intimacy and secrecy between them that feels almost magical, which is interesting when combined with the realist style of the film. September Says also starkly explores aspects of womanhood in a way that I haven't seen represented on screen, which is to say it’s completely natural, from sanitary pads peeking out from underwear to a hilarious yet tender scene focusing on female pleasure.

18. THE APPRENTICE

The Apprentice isn't just a film about Donald Trump (Sebastian Stan). It’s an exploration of the evil facilitated by capitalism, corruption, and pursuit of wealth at all costs. It’s a simplistic view of Trump's life, but instead of playing a caricature, Stan gives a truly impressive performance. He effortlessly portrays Trump’s mannerisms and cadence as he slowly twists into the man that everyone knows today, and Jeremy Strong is disturbingly captivating as Trump’s mentor, Roy Cohn. There is, however, a distressing scene that didn’t seem in tone with the film, didn’t add anything to the story, and disturbed my immersion since it was so jarring.

17. DAHOMEY

Dahomey is a moving documentary exploring the return of stolen artifacts to Benin. Director Mati Diop narrates the journey through the disembodied voice of the statue, which immediately captured my attention and created an ethereal tone. Alongside this, slow-paced scenes highlight the clinical nature of dealing with these artifacts, and energetic debates amongst young people who discuss what the return of these items means for their heritage and future show the varying attitudes surrounding the event. The mark of a good documentary is its ability to engage an audience with no prior knowledge of the subject, and Dahomey did just that.

16. BRING THEM DOWN

Bring Them Down is a tense tale of revenge and cyclical trauma with a pervading sense of intensifying rage bubbling quietly but ferociously beneath the surface. The story is simple but very powerful, thanks to the incredible performances that drive it, especially Christopher Abbott and Barry Keoghan. Director Christopher Andrews doesn’t waste time pinning the blame on a particular character instead exploring the way that each of the men perpetuates violence and refuses to take accountability. Bring Them Down is engaging but bleak, and although I was engrossed in the drama, I won’t return to it anytime soon.

15. WITCHES

Witches is an important, personal film that explores post-partum depression. Director Elizabeth Sankey draws a connection between this and the treatment of witches throughout history, featuring moving testimonials from women who have suffered post-partum depression alongside scenes of witches on the silver screen. This enables Sankey to draw many conceptual connections between the treatment of women in the past and issues that still impact them today. It’s the first time I’ve heard these issues discussed in such honest terms, which was revealing, and it represents a step in the right direction while also sadly highlighting the failings of society in supporting new mothers.

14. ALL OF YOU

All of You is a hopelessly romantic film that I found ridiculously easy to enjoy. Leads Brett Goldstein and Imogen Poots have enough passionate chemistry to overcome the underdeveloped near-future sci-fi concept that is established early on because, ultimately, this is about their organic connection that developed independently of apps and algorithms. It also explores interesting questions about whether we can choose who we love, and if there is one single choice we can make that will save us from a lifetime of potential uncertainty. Overall, this is a beautifully bittersweet romance that left me with a lump in my throat.

13. THE WEEKEND

The Weekend is a fantastic horror-thriller that explores dark themes surrounding the inescapable grips of family, tradition, and trauma. The cast is fantastic, particularly the women in the family, namely Uzoamaka Aniunoh and Gloria Anozie-Young, both of whom give powerfully emotional performances. The film also has an amusing sense of humour, and the line “as a man of substance” has lived rent-free in my mind since I saw it. Although the runtime is a tad drawn out and it loses the engaging sense of urgency towards the end, it's thoroughly entertaining, driven by captivating performances, surprising twists, and lots of bloody horror.

12. SUPERBOYS OF MALEGAON

Superboys of Malegaon is an entertaining, feel-good story that blends melodrama, comedy, and adversity to create a heartwarming tribute to young friends who set out to bring their dreams to life through the screen. It’s based on the documentary Supermen of Malegaon, and knowing that the film is inspired by true events makes it all the more satisfying to root for the loveable underdogs. The film covers a lot of ground in just over two hours, but the punchy energy of the story, warm humour, and fantastic performances make for a compelling watch with a crowd-pleasing and uplifting message.

11. AÏCHA

Aïcha is a thrilling story that follows the young maid Aya’s tumultuous journey from rags to riches after miraculously surviving an incident that kills everyone else involved. Fatma Sfarr gives a magnetic central performance as Aya, and the film effortlessly handles multiple compelling storylines featuring themes of police corruption, oppressive class dynamics, misogyny, and liberation in post-revolution Tunisia, staying engaging and exciting throughout. All the storylines and difficult topics can start to feel exhausting, but ultimately leads to a satisfying conclusion. There is also some beautiful camerawork and visuals complemented by an immersive score, especially in the entrancing nightclub scenes.

10. A REAL PAIN

A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin.

9. CROCODILE TEARS

Crocodile Tears is a gripping coming-of-age thriller that focuses on the odd and unhealthy relationship between a mother (Marissa Anita) and her son (Yusuf Mahardika). A sense of threat lurks in the corner of every frame as the mother tries to tighten the suffocating grip she has over her son, and the incredible performances and striking imagery enhance the mounting atmosphere of paranoia. You can almost feel the unbearable humidity of the setting, adding to the oppressive dynamic. Marissa Anita’s performance as Johan’s mother is incredible, and she embodies chilling reptilian movements that make her all the most threatening.

8. FRÉWAKA

Fréwaka is deeply atmospheric and unsettling, effectively employing folk horror tropes and nightmarish Catholic imagery to explore inherited trauma, mental illness, and grief. The bond that is slowly formed between the two leads, Clare Monnelly as Shoo and Bríd Ní Neachtain as Peig, is complicated, emotional, and endearing, and both of their performances are amazing. I found the focus on the female perspective interesting, as well as the way writer-director Aislinn Clarke tackles the tension between Ireland’s history and the modern present, both on a personal level for the characters and in a broader cultural sense.

7. THE SURFER

Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans.

6. MEMOIR OF A SNAIL

Memoir of a Snail is instantly one of my favourite animated films of the year, with its creative and distinctive stop-motion style, crude and often outrageous humour, and life-affirming message. Plus, despite all the sex and swearing, it’s the most wholesome, rewarding film of LFF. It’s also an intelligent film, exploring the darkest moments of the character’s lives whilst advocating for a forward-thinking approach to tragedy and celebrating progress in the face of adversity. The voice cast is also very endearing, especially Sarah Snook as the protagonist Grace and Jacki Weaver as Pinky.

5. THE CATS OF GOKOGU SHRINE

The Cats of Gokogu Shrine is a ray of sunshine. It’s a testament to the importance of community, treating the world around you with respect, and the beauty found in everyday life. Since I’m unapologetically a cat person, I loved observing the many mischievous cats and kittens that populate the Shinto shrine. This is a type of film I’ve increasingly come to appreciate, which asks the viewer to slow down and appreciate the beauty of the world it is capturing, which, in this case, is the gorgeous coastal town of Ushimado and, most importantly, its feline residents.

4. BLITZ

With emotional family drama, gripping action, and incredible special effects that are breathtaking in their sheer scale, Blitz captures the devastating destruction of war and the ways that it united and divided people and communities. Director Steve McQueen highlights the efforts and impact of those that history and cinema have previously ignored, specifically women and people of colour, neither of which have been represented fairly, if at all. The cast is also very strong, particularly a captivating Saoirse Ronan, as well as an incredible acting debut from the young Elliott Heffernan, who is our emotional lifeline throughout the film. 

3. EMILIA PÉREZ

Emilia Pérez is brash, bold, and energetic, combining melodrama, tension, crime, violence, and dazzling musical numbers. It kept me guessing at every turn and it consistently subverted my expectations, with the tone veering from tragic to uplifting to suspenseful. I just allowed it to take me on an insane ride instead of trying to figure out what it was supposed to be. Zoe Saldaña is also enthralling in one of the leading roles — I could not take my eyes off her. Overall, Emilia Pérez is full of spectacle, ambition, and uniqueness.

2. LA COCINA

La Cocina will undoubtedly be one of my favourite films of the year. It hits the ground running as we follow a young chef into the hectic, demanding kitchen environment and, like her, we learn how it all works through exposure to the chaos. From the stunning black-and-white visuals to the fast-paced, pressure-cooker tension, it's deliciously compelling with palpably stressful energy, and it layers conversations and arguments in several languages with an incredible sound design that emphasises the cacophony of the kitchen. Plus, each member of its huge cast of characters is incredible without getting lost in the crowd. 

1. CONCLAVE

Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and it boasts a career-best performance from Ralph Fiennes.