London Film Festival 2025 Ranked
- Jack Aling
- Oct 24, 2025
- 14 min read
Updated: 7 days ago
In October 2025, Escape Film Club attended BFI's London Film Festival to experience the most exciting upcoming independent and major releases.
Here's our ranked list of every film we saw at the 2025 festival and links to our full reviews.
List and reviews by Jack Aling.
36) FATHER MOTHER SISTER BROTHER
Jim Jarmusch I'm sorry, I did not get it. Father Mother Sister Brother presents three short films following three complex family dynamics. Each focuses on the mundanity of daily life with awkward small talk and unspoken secrets between close family. Though the talent is front and centre on screen, it all feels for nothing as it repeats a cycle of agonisingly dull storytelling that moves on before it allows any real connection to the characters.
35) HIGH WIRE
Ambitious for a film of its size, High Wire has a strong visual identity and tries to do a lot in the time it has. The lack of character development really impacts a story with a lot of heart at its centre.
34) THE CHRONOLOGY OF WATER
Kristen Stewart's directorial debut delivers a confident yet horribly misguided vision. Imogen Poots gives a strong performance as a woman stuck in a self-destructive pattern whose memories and trauma are displayed in a disorientating and abstract manner. Though the film is almost redeemed by a fleeting supporting performance by Jim Belushi, the creative choices result in a film that gets carried away despite an obvious talent behind the camera.
33) THE MASTERMIND
My apologies Kelly Reichardt, I did not get it. The Mastermind sees Josh O'Connor very slowly… And passively… Go on the run after a simple heist goes wrong. The first half feels just as planned and precise as the heist, but things slowly unravel and fizzle out, which leads to an interesting character study of a man coming undone - even if it's dramatically uneventful.
32) THE TRAVELERS
The Travelers is vital documentary filmmaking. There's no expanding on the larger situation at hand, no investigative twist, just documenting an experience to share with the world. To show the risks that ordinary people take just for a chance of a new life. To share their ambition and their fear. To tell their story.
31) SPRINGSTEEN: DELIVER ME FROM NOWHERE
I'm not overly familiar with Bruce Springsteen's career outside of his popular hits, and after Deliver Me from Nowhere, I am still none the wiser. A solid story about how our unique experiences shape us and ways art can be used as a tool to articulate our stories infinitely, but as a biopic, it was alarmingly forgetful. Jeremy Allen White does a solid job of holding back his inner Carmy, but like the film, it doesn't do enough to stand out. I enjoyed how it challenged typical biopic expectations and instead focused on a pivotal moment in Springsteen's life and career, but like the Nebraska album, so much was stripped away that I was left wanting more.
30) ANEMONE
There are glimpses of hope in Anemone. Beautiful nature photography, some impressive cinematography and of course Daniel Day-Lewis returning to our screens to prove why he's the master of the monologue. Regrettably, the highs are quickly washed away by a mundane and inconsistent family drama that does not equal the sum of its parts.
29) AFTER THE HUNT
After the highs of Challengers, I cannot believe how mundane Luca Guadagnino's next film was. After The Hunt has a lot to say, yet struggles to confidently get its words out. There are recognisable faces, strong performances and expert cinematography to distract you from the fact that it seems scared to answer any of the questions it lays out. Wildly cryptic considering the talent and subject matter at play.
28) RENTAL FAMILY
Brendan Fraser's first leading role since his Oscar-winning return in The Whale takes him to Japan incidentally as an actor struggling to find work. When he lands a role at an agency that gives him the opportunity to stand in for hire in people's important life events, the lines between role and reality quickly blur. An exploration of Japan's complex social culture; there are so many directions this could have gone but unfortunately Rental Family plays it all very safe with no real stakes or consequences despite the involvement in people's intimate lives.
27) THE TESTAMENT OF ANN LEE
Many films aim to promise a 'unique cinematic experience' and few actually deliver on that promise. But for better or for worse, I have never experienced anything like The Testament of Ann Lee. Mesmerising shot, we are introduced to the Shaker movement - a religious society that rhythmically dances and moves together with deep breath work and hypnotic choreography. It's in this first scene where you'll instantly know if Ann Lee is the film for you - as there's a lot more where that came from. I was a big fan of The Brutalist from Mona Fastvold and Brady Corbet, but this religious music-infused drama is far removed from the harsh realism of The Brutalist. There is impeccable attention to detail and talent in front and behind the camera, which makes Ann Lee an engaging and enchanting experience, but the prolonged and monotonous narrative stopped me from being truly immersed in this world.
26) SOUND OF FALLING
A foreboding look into the past, following different generations living in the same space. But this isn't an uplifting celebration of life; it's an obsession with death. Muted colours and raucous sound design overwhelm the senses for Mascha Schilinski's disorientating journey through time that watches on from a distance with an almost voyeuristic lens.
25) WHAT MARIELLE KNOWS
A black comedy that takes a fantastical concept and turns it into a paranoia-fuelled look at the difference in how we act when we don't think people are watching. When Marielle develops telepathic abilities during a schoolyard fight, she discovers she can see and hear everything her parents do. Whether they like it or not, this forces honest conversations as intimate secrets are revealed. There is a calm confusion and wicked sense of humour throughout, despite some brutal home truths. A hidden gem at this year's London Film Festival.
24) CALLE MÁLAGA
A real hidden gem at this year's London Film Festival, Calle Málaga slowly reveals itself as a later in life coming of age story. Carmen Maura soars in the lead as Maria when she is forced out of the comfort zone that is her home. This significant shift has her look forward for the first time in years, resulting in a heartwarming exploration of what it means to be home and a reminder to never get too comfortable.
23) ROSE OF NEVADA
I've struggled with the abstract nature of Mark Jenkin's previous films, but Rose of Nevada uses his distinctive 16mm style to his advantage to elevate this disorientating time-travel mystery. Jenkin's most accessible film to date with recognisable stars and a tangible narrative, Rose of Nevada is still very much an acquired taste - blending Cornish folk horror with a nostalgic coming of age drama. A surreal experience but by far the most invested I've been in Jenkin's work. A ghost story that battles to keep its grip on reality.
22) GIANT
Giant leans on many of the sports underdog stereotypes, like Rocky but with a notably 1990's British personality. Following the rise and career of boxer Prince Naseem Hamed, and in an unexpected comparison, Giant takes a similar route to Elvis - focusing on the story through the lens of his trainer and manager, played here by Pierce Brosnan. Uplifting and motivating, but ultimately lacks a punch.
21) LURKER
A modern look into the perils of fame, Lurker's antisocial antagonist manipulates his way to the top in this striking cautionary tale. Théodore Pellerin's performance gets under your skin with a deranged thousand-yard stare that would make Hitchcock proud. Though it overstays its welcome by the third act, Lurker delivers enough second-hand embarrassment to leave a lasting impact.
20) THE SECRET AGENT
A deeply patriotic thriller, The Secret Agent's urgently paranoid pace builds the landscape of 70's Brazil so vividly that it feels like a documentary. The themes of heritage, family and legacy fuel this tale by writer/director Kleber Mendonça Filho, where the setting feels so inhabited and rich in detail to the point where surreal moments feel like an everyday occurrence. Wagner Moura brings a unique sense of calm and style to the film as he sits in the eye of the storm where the violence and corruption of a classic political thriller collide with masterful modern filmmaking.
19) HEEL
Tommy is an asshole. There's no two ways about it. He's a nuisance, a public disturbance and outspoken in the worst ways possible. Does that mean he deserves to be kidnapped by Stephen Graham and chained in a basement until he reflects on the errors of his antisocial ways? Probably not, but here we are. With a premise as dark as this, my biggest surprise is how heartfelt The Good Boy is. After a sinister first act, the layers are peeled back on a mysterious family dynamic, taking the film in unexpected directions.
18) TUNER
Tuner was not even on my radar but came out of nowhere to be a genuine surprise film at this year's London Film Festival. Leo Woodall shines as a piano tuner turned safe cracker with hyperacusis in an engaging performance, leading with ease even with giants like Dustin Hoffman in the supporting cast. A welcome dose of energy thanks to its fast pace and editing, the result is a blend of Whiplash meets Baby Driver. A fantastic first narrative feature from Navalny director Daniel Roher.
17) CHRISTY
The story of Christy Martin begins and plays out for the most part like the inspiring sports dramas that we've seen time and time again. Her career as “the most successful and prominent female boxer in the United States” made her an inspiration, but what surprised me was the power of her story outside of the ring. This adaptation of Christy's life almost does her a disservice - it's by no means bad, but it's manufactured so generically that it fails to stand out visually or thematically. Sydney Sweeney is great in the lead as she continues to prove her range, though the supporting cast stood out to me, especially Ben Foster as Martin's manipulative husband and manager. The pacing feels very inconsistent, which plays its part in making the third act turn feel so shocking. I loved learning more about Christy's story, it's just a shame that it feels so mishandled.
16) TWINLESS
Honest and unafraid, Twinless begins as a simple and heartfelt exploration of grief but quickly evolves into something more compulsive and intriguing. It's rare to see such honest and unafraid storytelling. James Sweeney has created a truly vulnerable film that uses comedy to shield and deflect the tragedy at its core.
15) IS THIS THING ON?
Oh, a film based on John Bishop's life? Directed by… Bradley Cooper? Starring Will Arnett and… Laura Dern? Stranger things have happened. Is This Thing On? follows a man in the midst of a divorce who finds his voice and calling in stand-up comedy. Far more informal and relaxed than A Star is Born and Maestro, this combines the chaos of modern family life with a later in life coming of age story. A charming story of self-discovery that feels very mature and honest despite the comedic themes. However, it is another film to add to the list that uses 'Under Pressure' to devastating effect.
14) ALPHA
Less of a spectacle than Raw or Titane, Julia Ducournau's latest feels more personal and intimate while keeping traces of her signature flair. When Alpha gets an amateur tattoo at a party, it begins a series of events that unravels a troubling story of fear and addiction fuelled by her mother's desperate need to protect those around her. Though there are still elements of the chilling body horror we came to expect, Alpha will no doubt be more divisive, but its themes stayed with me longer than any nauseating gore Ducournau has created before.
13) THE THING WITH FEATHERS
Benedict Cumberbatch's grief manifests itself in dark and mysterious ways in The Thing with Feathers. After losing his wife, attempting to keep a normal routine goes out the window when a shadowy crow manifests itself to challenge and give a 'therapeutic approach' to grief. An ethereal take on a deeply personal story, Cumberbatch's performance and surrealist visuals paint a darkly sentimental portrait of a man tormented by the joys of his past, the pain of his present and the fear of his future.
12) RESURRECTION
My favourite part of film festivals is attending screenings completely blind to fill a gap in the schedule. Sometimes it pays off, sometimes it's a waste of time, and sometimes it's Resurrection. I have never seen a Bi Gan film before and had no idea what to expect walking in - Resurrection plays on the senses by allowing different styles and techniques to blend together extravagant tribute to cinema. Weaving between changing identities throughout time, Resurrection is gloriously experimental, playing with meticulous set design, shooting styles and extreme lighting choices. It's clear that Bi Gan had a very particular vision in mind, which he achieved without any substitutions - the last sequence's oner in particular was mind blowing. Did I understand all of it? No, absolutely not. But it truly was a sight to behold.
11) DIE MY LOVE
Jennifer Lawrence and Robert Pattinson are new parents, moving into their new home, starting their new life together. But this idyllic idea of life is quickly interrupted as secrets and frustrations manifest themselves into feral rage. Lawrence gives herself over entirely to the role of Grace, turning her internal isolation into a frightening and intense physical performance. You don't go into a Lynne Ramsay film expecting a heartfelt comedy, but even given her filmography, Die My Love delves into the darkest of places. An untamed psychosexual drama that turns abandonment into a claustrophobic cacophony of emotions.
10) JAY KELLY
A film about the art of filmmaking - my main weakness. Jay Kelly is undeniably charismatic and deeply reflective as we look back at the life of a man who seemingly has everything he wants, but you always crave what you don't have. An existential performance by George Clooney leads this tribute to the great movie star and the joy they can bring so many. As he contemplates his career, things turn inwards, looking at the impact it had on his relationships with those he holds the closest, those who are after life's simple pleasures, not extravagant bounties. It is a battle to truly relate to a protagonist who's seemingly suffering from success, even if they are very everyday anxieties, but Baumbach and Clooney do a great job of slowly stripping back the character of Jay Kelly, leading to a touching final act. Full of heart, incredible dialogue and one too many cheesecakes, Jay Kelly is a celebration of life on and off the screen.
9) BUGONIA
One of those films that you can't believe got past the corporate execs. Bugonia is an absolute riot that keeps you guessing and attempting to solve its riddles until its final moments. A wonderfully surreal look at conspiracies, the lasting impact of trauma and organisational greed. Powerhouse performances and stunning cinematography expand the claustrophobic setting, adding to a perfect blend of masterfully dizzying filmmaking and a story that leaves you with an expansive pit in your stomach as you realise… We're Screwed.
8) NO OTHER CHOICE
Park Chan-wook returns with his precise directorial style for a corporate story of revenge and pride, following a man who has No Other Choice. This follow-up to the impeccable Decision to Leave tackles the extreme lengths people will go to in today's job market. Lee Byung-hun is incredible in the lead as he battles to provide for his family by questioning how own morals to how far he will go to protect his lifestyle and dignity. Park Chan-wook is, as usual, showing up every other director on the planet with his unmistakable high standards and transitions that made me want to stand and applaud. A striking, sobering and hilarious social commentary that stares corporate life and consumerism right in the face.
7) WASTEMAN
There is an end in sight to David Jonsson's docile routine in prison when he is offered a pending early release, but a troublesome new cellmate, Tom Blyth, threatens his future in Wasteman. As gritty as a British prison drama can get, this claustrophobic thriller is shot in tight close-ups, making the violence, rage, and despair inescapable. A story of survival by any means necessary, packed with ambition and overflowing with aggression.
6) WAKE UP DEAD MAN
A return to its gothic roots, the latest Knives Out mystery introduces another group of colourful suspects as Benoit Blanc challenges faith itself after a priest is found dead. Rian Johnson's Knives Out Trilogy are wonderful and diverse puzzle boxes - blending different genres and personalities whilst consistently keeping audiences on their toes with original and unpredictable mysteries. Wake Up Dead Man is no exception in the darkest and most introspective instalment to date.
5) THE VOICE OF HIND RAJAB
Blurring the line between documentary and drama, The Voice of Hind Rajab is tough and blisteringly relevant. Using real footage and voice recordings throughout adds a sobering and often overwhelming layer to an already distressing story. Kaouther Ben Hania forces audiences to experience every harrowing moment. Cinema can be used as a tool to amplify important stories and topics to wider audiences, like the story of the Red Crescent volunteers. Like the story of Hind Rajab.
4) FRANKENSTEIN
Unapologetically atmospheric, Frankenstein is proof that we should hand the rights to all the gothic classics over to Guillermo del Toro. Approaching classic monster horror with medical-grade precision, the care and attention to detail in every shot, set and sequence is a sight to behold. del Toro brings the most authentic portrayal of the infamous story to screen in proudly grotesque fashion. With an impressive cast to match, Jacob Elordi in particular is incredible as The Creature. The innocent sense of intrigue that slowly turns into wounded confusion and rage encapsulates the film's message and tone so perfectly. One of the biggest victims of Netflix's release schedule - Frankenstein needs to be experienced on the biggest screen you can find.
3) SENTIMENTAL VALUE
You can choose your friends, but you can't choose your family. Each and every family is different and complex. When an estranged father returns into his now adult children's lives, fuelled by a new creative drive, trauma buried in the past comes back to the surface. Sentimental Value is beautifully layered with so many characters and perspectives to unpack, paired with multifaceted performances as the ways their differing relationships shape and evolve feel so intimate and natural.
2) TRAIN DREAMS
A tranquil exploration of one man's life, Train Dreams captures the comforting highs and harrowing lows of life set against the rich forests of the Pacific Northwest. Easily one of the most beautiful films I've seen in years, the combination of stunning landscapes paired with sharp and precise cinematography is a sight to behold. It's easy to become immersed in Robert Grainier's story, played spectacularly by Joel Edgerton. His way of life, comforts and routine may be simple, but his intentions are pure.
1) HAMNET
Every year, there is a film at London Film Festival that reaches into your chest and breaks your heart - Enter Hamnet. The story of loss that birthed William Shakespeare's Hamlet is an unsurprisingly sobering one, but Chloé Zhao's directorial flair brings an ethereal quality that helps find a sense of calm amidst the hysteria. Jessie Buckley and Paul Mescal give the performance of their lives, with Buckley in particular giving everything she has to the role, catapulting herself into awards season buzz. We watch how their two different manifestations of grief impact their world, relationships and work. Zhao balances this beautifully without shielding the audience from the heartache and turmoil. The final act of Hamnet may be the finest in years - combining the beauty of Shakespeare's work with the emotional catharsis that comes after a significant loss. Art has always been a powerful means of escape. A way to connect with others and resonate with our shared experiences. A way to encapsulate what may not be possible to say. The rest is silence.
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