Honorable Mention: A Real Pain

A Real Pain is an interesting film, hybrid between family drama and history lesson but with a strong comedic delivery. Solid performances by both Jesse  Eisenberg and especially Kieran  Culkin. The movie also looks pretty great muted fall colors, cracked brick walls, and grey Polish streets that feel equal parts cozy and of haunted given the history of where they go. Chopin as the background score fits perfect with the quirky comedic tone and visual backdrop. There were themes of sadness and depression that were brought up but quickly glossed over. There was a lot there that could’ve been unpacked and served the narrative well but you only really feel the weight of it in that late‑night rooftop scene, when the jokes finally pause and the two cousins admit why they’re actually on this trip; for a minute the movie drops the punchlines and hits something real. The writing is what carries this movie but is somewhat hindered due to an uneven tone juggling between sincerity and comedy.

3/5

#5: Misericordia

Misericordia was a pretty unique film which flew under the radar of many. It starts off with an almost eerie thriller sense but has a solid comedic foundation that’s prevalent right up to the credits roll. Director Alain  Guiraudie keeps the pace concise at 104 minutes, and Claire Mathon’s cool and hazy cinematography gives the small French village backdrop an almost haunted glow. This balance of tone was done surprisingly well and created a unique experience. Even the score flips back and forth, sliding from low suspense drones into cheeky accordion riffs, so the tension never settles. Though I preferred the lean into the suspense/thriller of it, the inclusion of comedy added an interesting type of fun to the overall suspense. My personal flavor is more towards a serious thriller, which this could’ve easily been and done very well; in that latter scenario it would’ve been a clear‑cut 4/5 for me.

3.5/5

#4: The Room Next Door

An earnest and sincere film about a woman who decides to take back her agency and sense of control in what seems like an unwinnable fight with cancer, and the friend she asks to stand beside her through every step. The performances radiate authenticity, each small smile or lingering pause saying more than any speech could. Natural lighting and quiet, steady camerawork place us right at the edge of their conversations, letting the tiniest gestures carry real emotional weight. There’s also a terrific use of color throughout. Though the core of the story is heavy, it unfolds in a frank and almost lighthearted way that keeps its focus on living rather than simply counting down. A few well timed jokes slip in just when tension peaks, the sort of humor that friends share when words fail. The gentle piano score through the background highlights those moments of reflection without tipping into melodrama. Everyday scenes like making lukewarm tea or taking an slow walk in the evening remind us that dignity often shows up in the simple acts we choose for ourselves. By the time the credits roll, the film has celebrated this character’s calm, carefully chosen exit while honoring the steadfast friendship that makes such courage possible.

4/5

#3: The Brutalist

The Brutalist was a strong film, shot very well on 70 mm film, alongside the great production design too the concrete textures set pieces really standout. Strong performances from top to bottom, even the smaller roles stick with you. Adrien  Brody completely disappears into László Tóth, a transformative role that anchors the whole story alongside Guy  Pearce who truly steals the show with his terrific performance, delivering some of the sharpest scenes in the movie. The film is a marathon in its runtime, but it keeps you hooked because the story of the architect keeps shifting settings and eras, always showing new sides of his work and his personal life. The narrative jumps across different points in his journey, which adds energy while showing what each success or setback really cost him. It provides a good blend of lightheartedness to offset the heavier themes and moments. A nice score rounds it all out, swelling with strings when a dream project goes up and slipping into lonely piano when reality hits, capturing the emotions of each chapter without feeling forced.

4/5

#2: The Seed of the Sacred Fig

A strong film with an interesting narrative pulling from real life events as its backdrop but carving its own story within that. The way it blends fact and fiction keeps it engaging without feeling like a straight reenactment. Great and believable performances from top to bottom, with the lead carrying so much of the emotional weight without ever overacting. A unique mix of family drama, moral dilemma and even thriller, keeping you guessing where the story will turn next. Some of the decisions certain characters make are just so frustrating to watch and you can feel how those choices slowly drag everyone else into a downward mental spiral. The tension between loyalty to family and loyalty to the state is handled really well, and it lingers in almost every scene. I agree governments shouldn’t be the one imposing or controlling women’s autonomy, but burning hijabs on the street is not “freedom”. Freedom is choice, and the film never really presents it that way especially by the end sequence which feels more like chaos than liberation.

4.5/5

#1: No Other Land

No Other Land is an incredibly moving and harrowing showing of the plight of the Palestinian people and the suffering and human rights violations they endure against their oppressors. The film keeps the camera tight on these ordinary families being forced out of their homes, making every demolition and checkpoint feel personal. We follow Palestinian activist Basel Adra and Israeli journalist Yuval Abraham on the ground as they document the war crimes taking place against the people of Masafer Yatta and other villages in Palestine. Their friendship gives the film an added layer because you see both solidarity and the tension of two worlds colliding while trying to tell the truth. The raw footage feels unfiltered and there are moments where the sound of boots or a child crying says more than any narration could. It leaves you shaken but also a hopeful that the record of these accounts are being displayed on the big screen at New York Film Festival, granting on the ground exposrue to some who may not be familiar with the tragic truth of the reality Palestinians live in. Hopefully this will further shine a light on the injustices taking place. By far the most important film of this year.

5/5