Imagine stepping into a world where cinema dares to defy expectations, blending bold storytelling with unexpected twists that challenge what we think we know about films. That's the electrifying promise of the 2025 London Film Festival (LFF), where innovation meets inspiration, and every screening feels like a revelation. But here's where it gets controversial: Are we ready for movies that push boundaries, or do some audiences cling to the comfort of familiar narratives? Stick around, and you'll discover why this year's lineup might just change your perspective on what cinema can be.
As always, curators face the thrilling dilemma of selection—what gems to spotlight and how to present them. For those eager to dive into uncharted territories, the festival boasts 27 world premieres, including eight full-length features. Alternatively, catch up on standout releases from this year's global circuit, such as Jim Jarmusch's Venice triumph, Father Mother Sister Brother (check out the review at https://www.hollywoodreporter.com/movies/movie-reviews/father-mother-sister-brother-review-jim-jarmusch-1236358004/), Jafar Panahi's Cannes accolade, It Was Just an Accident (reviewed here: https://www.hollywoodreporter.com/movies/movie-reviews/it-was-just-an-accident-review-jafar-panahi-iran-1236222539/), Joachim Trier's Sentimental Value, Kaouther Ben Hania's poignant The Voice of Hind Rajab (more on her work at https://www.hollywoodreporter.com/movies/movie-news/kaouther-ben-hania-on-gaza-drama-the-voice-of-hind-rajab-1236357534/), Noah Baumbach's ensemble piece Jay Kelly featuring George Clooney, Chloé Zhao's adaptation of Shakespeare's Hamnet, and Richard Linklater's Blue Moon. These aren't just films; they're conversations starters that echo the year's most talked-about themes.
Kicking things off with a bang is Rian Johnson's latest Knives Out adventure, Wake Up Dead Man, a star-packed sequel that's sure to dazzle. Wrapping up the festivities on October 19 is Julia Jackson's 100 Nights of Hero, a vibrant closer that leaves audiences buzzing.
Kristy Matheson, the Australian programming director overseeing her third LFF for the BFI, shared insights with THR on this year's choices, surprising geographical elements, symbolic creatures, and the allure of celebrity. (For more on her vision, see https://www.hollywoodreporter.com/movies/movie-features/lff-2024-interview-premieres-stars-strikes-1236006703/.) She emphasized the careful thought behind the opening and closing selections, which serve as a snapshot of the festival's vibe.
'Picking the bookends is like solving a creative puzzle,' Matheson explained. 'They encapsulate the essence of the event. Both films shine in this regard, especially when directors return to London—it's a special connection. For Rian Johnson, this marks the third Knives Out film premiering here, and he's masterfully evolved the series. With British talents like Daniel Craig and Josh O'Connor in the mix, it feels distinctly British despite its American roots. It's pure fun, utterly captivating, and a testament to brilliant craftsmanship—a joyous launch for the festival.'
'As for our finale with Julia Jackson, we're thrilled to welcome back a filmmaker whose debut, Bonus Track, graced our screens in 2023. Her new work is authentically local, and it's heartwarming to end on a high note with a lively, courageous queer narrative. I'm immensely proud of both choices.'
This year, LFF unveils eight world premieres, each adding unique flavors to the cinematic tapestry. Matheson highlighted a few: 'Moss & Freud explores the iconic portrait session between Lucian Freud and Kate Moss, celebrating London's artistic soul and the profound bond between two contrasting personalities. It's an exploration of what it truly means to embrace one's identity as an artist, and I suspect it'll catch many off guard in the best way.'
'Then there's The Death of Bunny Munro, a series adaptation of Nick Cave's novel, directed by the talented Isabella Eklöf. Her enthusiasm for the project is infectious, and Matt Smith's lead performance is stellar.'
'Don't miss Super Nature, a stunning documentary filmed on Super 8 that delves into humanity's bond with the environment. Originating from the U.K., it's a global reflection that's both beautiful and moving—experiencing it on the big screen will feel magical.'
And this is the part most people miss: overarching themes that weave through the program. 'We're struck by the formally daring nature of this year's cinema,' Matheson noted. 'Filmmakers are stretching the medium in fresh, exciting ways—think innovative techniques that redefine storytelling.'
'Interestingly, as we assembled the lineup, totem animals emerged again. Last year, cats prowled our selections; this time, birds soar through many films. It's a charming pattern that adds a layer of whimsy.'
Curious about those avian motifs? 'Take H Is for Hawk, Philippa Lowthorpe's adaptation starring Claire Foy and Brendan Gleeson, which features mesmerizing bird imagery. Or Singing Wings, a film about wildlife and deeper human connections.'
Geographically, the festival spans 79 countries, with strong showings from unexpected places. 'The MENA region and sub-Saharan Africa deliver impressive, thought-provoking works,' Matheson said. 'Italy, in particular, is having a banner year—not that we lack Italian films, but this batch, including series, stands out for its diversity.'
'For instance, Marco Bellocchio's new series Portobello is a gripping tale with top-notch acting and production. Then there's Gianfranco Rosi's Below the Clouds and Carolina Cavalli's sophomore effort, The Kidnapping of Arabella. Italy's cinematic heritage is rich, but these varied offerings feel refreshingly new.'
On diversity, 42% of films come from female or non-binary creators. 'We intentionally aim for representation that mirrors London's multicultural fabric and the global population,' Matheson explained. 'It's about showcasing diverse voices so attendees see reflections of themselves or discover new worlds. As an audience-focused event, we craft a program that sparks excitement—whether through familiarity or fresh discoveries. By the end, participants often leave with broadened horizons, new passions, and perhaps a few life hacks tucked away.'
Star power plays a pivotal role too. 'This edition features incredible ensembles,' Matheson observed. 'Wake Up Dead Man boasts a joyful group dynamic, a trend that's become more prevalent. Even in smaller casts like Jay Kelly, with stars such as George Clooney, Adam Sandler, Laura Dern, Billy Crudup, and Riley Keough, the chemistry shines.'
'What's fascinating is watching actors step outside their usual roles. Brendan Fraser's shift from The Whale to Hakari's Rental Family offers a tender, unexpected performance—proving that big names can bring depth to unconventional parts. Similarly, Amanda Seyfried in Mona Fastvold's The Testament of Ann Lee delivers a powerhouse turn, showcasing talents eager to collaborate on compelling projects.'
But here's where it gets controversial: Is casting famous actors in indie films a boost for visibility, or does it overshadow emerging voices? Do these choices democratize cinema, or reinforce Hollywood's grip? And this is the part most people miss: How might 'playing against type' challenge stereotypes, but also perpetuate them if not done thoughtfully?
Finally, Matheson teased an immersive highlight: 'In LFF Expanded, NOWISWHENWEARE (the stars) awaits—an ambitious installation with over 4,000 reactive LED lights transporting you to the cosmos. It's an experience I can't wait to dive into.'
What do you think? Does this year's LFF lineup excite you, or do you worry about the balance between daring innovation and accessible storytelling? Do you agree that star power enhances films, or should we prioritize unknown talents more? Share your thoughts in the comments—let's debate the future of cinema!
