Monthly Film Digest: January 2025

The Best Films I've Seen in January

In recent years, I completely lost interest in cinema. Watching films started to feel uninteresting and uninspiring. But now, I’m back in form—and proud to say I’m overdosing on films.

Here are my favourite films I watched in January 2025. But before we dive in, let’s check out the honourable mentions, since I had so many re-watches.

15) Love Lies Bleeding (2024)

14) The Wolf Man (1941)

13) The Proposition (2005)

12) The Hitcher (1986)

11) Tenebre (1982): A major spoiler killed my vibe. This could have been a lot better for me.

10) It Follows (2014) [Re-watch]

Since a sequel is on the way, I wanted to revisit this film and introduce one of the first touchstones of modern horror to my friends. It Follows does everything it needs to do—and does it well. The two main things that make me love this film are the music and its world-building. While the soundtrack is widely praised, I think the film’s unique world often goes overlooked.

Somehow, David Robert Mitchell manages to create an alternative universe in his films. I don’t mean anything like a multiverse or time travel—he simply doesn’t conform to the real world, instead crafting his own aesthetic. It Follows takes place in the recent past, yet it lacks modern technology. The TVs are old as fuck, there are no smartphones, and yet it’s clearly not the ’80s. This eerie, timeless quality is what makes the film so memorable and acclaimed.

I’d definitely prefer a new IP from David Robert Mitchell, but since It Follows is remarkable—and he doesn’t have any rotten eggs in his filmography—I’m pretty excited for the sequel.

9) Hell or High Water (2016)

What drew me into this film was Taylor Sheridan. He keeps things simple, lets the audience grasp what’s happening on screen, and—most importantly—writes about cultures he knows intimately. This makes everything feel far more authentic. In Hell or High Water, rather than watching actors pretend to be southerners, I saw real southern madness.

Specifically, Ben Foster’s character, Tanner, reminded me of Trevor Philips from GTA V—a pure fucking maniac, terrorising everyone except those closest to him. In my book, Tanner Howard is a perfectly written and performed character.

Another thing that makes this film so effective is the robberies. We don’t see elaborate heist masterplans, just simple, believable robberies with a coherent amount of money being stolen.

Hell or High Water is a masterfully crafted film, and I highly recommend it.

8) La La Land (2016) [Re-watch]

If someone were to ask me, “Which films strengthened your bond with cinema?”, La La Land would undoubtedly be one of my first picks. I loved it so much upon first viewing that I thought I might love musicals in general. However, it later became clear that I’m quite far from being a fan of the genre.

La La Land did something else for me, though—it introduced me to jazz. I still remember searching “Where to start with jazz music?” on forums and discovering Saxophone Colossus by Sonny Rollins—an album that still resonates with me to this day.

Beyond deepening my connection with cinema, La La Land also inspired my lifestyle. While I no longer find it as entertaining as I once did, it remains nothing short of a masterpiece in my eyes.

7) Nosferatu (2024)

Robert Eggers is truly one of my favourite directors, staying both productive and ambitious since his debut, The Witch (2015). While I’m not usually into remakes, the fact that Eggers is directing this one had me excited—plus, the original being so old makes it feel more justified. Remakes of 20-year-old films often feel pointless.

As for Nosferatu (2024), Eggers arguably creates his most dense, consuming, and captivating atmosphere in the first half. It’s genuinely terrifying. However, after Nosferatu arrives in Germany, the film starts to feel a bit too fruity. I wish it had stayed focused on Count Orlok rather than shifting into a gothic fairy tale.

6) Lost Highway (1997)

Lost Highway was the first David Lynch film I ever heard about. I vaguely remember owning a DVD or VCD of it as a child, though I never got around to watching it back then. It wasn't until recently, following Lynch’s passing, that I finally sat down to experience the film. Fittingly, Lost Highway became the first Lynch film I watched after his passing.

As expected, Lost Highway is quintessential David Lynch. It’s brimming with everything you’d associate with his signature style: unsettling creepiness, raw eroticism, surreal contradictions, gut-wrenching tension, and, of course, a labyrinthine, almost incomprehensible narrative. True to form, it’s deeply weird in the best possible way.

That weirdness stirred something unexpected in me—it reminded me of life itself and my own emotional state. I felt sadness for the passing of someone who lived on the other side of the world and didn’t even know I existed. But that’s not really a problem—actually, it’s quite the opposite. Despite all those differences, he found a way to speak to my spirit. Through his art, he transcended generational, cultural, and linguistic barriers. Impressive, isn’t it?

5) Mission: Impossible – Dead Reckoning (2023) [Re-watch]

With the evolution of the series in its fourth instalment, Mission: Impossible transformed into something extraordinary. Tom Cruise began pushing the limits of what the human body can endure. He climbed and ran along the exterior of the Burj Khalifa, clung to the side of an Airbus A400M as it took off, soared 5,000 feet; held his breath underwater for over six minutes, broke his ankle jumping between two buildings, piloted a helicopter through narrow canyons, and performed countless other death-defying stunts.

But with Mission: Impossible – Dead Reckoning, he may have pulled off the greatest stunt in cinema history. Cruise rode a motorbike off a cliff, glided through the air, and deployed a parachute in a sequence. Even on my third watch, I found myself holding my breath unintentionally.

With this unmatched dedication and skill, Tom Cruise is the man I aspire to be. He redefines the word “impossible” again and again. I can’t wait to see how he concludes this incredible journey in the grand finale later this year.

4) The Florida Project (2017)

2017 was the year I began delving deeper into the world of cinema. It also happened to be the year that some of my all-time favourite films were released: Twin Peaks: The Return, Blade Runner 2049, and Three Billboards Outside Ebbing, Missouri. Beyond these, the year brought an array of incredible works, such as Get Out, Dunkirk, A Ghost Story, Good Time, and countless others. Yet, amidst this packed cinematic schedule, I ended up postponing The Florida Project. To be honest, I wasn’t entirely sure what kind of film it was. Was it a slow-burn heartfelt drama? A humorous slice of life? Or perhaps a haunting childhood memory brought to the screen? Not being familiar with Sean Baker’s work left me unsure of what to expect—or what kind of mood I should prepare for before watching it.

Recently, inspired by the growing buzz surrounding Sean Baker’s latest project, Anora, I finally decided to explore his earlier works. And simply put, The Florida Project is a masterpiece.

Brooklynn Prince’s performance as Moonee is extraordinary. Her energy, charm, and authenticity make her one of the most unforgettable characters I’ve ever seen on screen. To be clear, I’m not just praising her among child actors—her performance is exceptional by any standard. She captures the essence of childhood so vividly: from the way she sticks her fingers in her mouth while crying to the way she laughs with uninhibited joy over the simplest things. Watching her felt like stepping completely into her world. At times, it broke my heart—I felt like I should reach into the screen and protect her from the struggles.

Since seeing the film, I’ve often caught myself hoping to have a child like Moonee—unimaginably cute, spirited, and full of life. Sean Baker’s direction deserves immense credit for balancing the lightness of Moonee’s childhood joy with the darker realities of life on the margins of the working class. The Florida motel world he portrays feels painfully real, yet it’s filled with moments of beauty, love, and resilience. That delicate interplay between light and dark, joy and hardship, makes the film a deeply human experience.

The Florida Project is more than just a film; it’s a heartfelt glimpse into a world rarely depicted with such sincerity. Watching it felt like reclaiming fragments of my own childhood memories, and that is a gift I will treasure.

3) The Shining (1980) [Re-watch]

I don’t think there’s anything new or valuable left to say about The Shining. It might be the most deeply analysed and studied film in history. The shots are still as impressive as ever, and the storytelling remains one of the most layered and dense examples in cinema.

One thing I don’t understand about the film is why everyone worships it. I don’t quite get why casual viewers are watching it and rating it 10/10. It’s not for everyone—hard to digest, slow-burning, with a vague story and a low dose of action. Nobody has to watch or like any film, and I just hope people are sincere about their opinions.

That said, I absolutely love the poster. It’s one of my all-time favourites.

2) Aftersun (2022)

Aftersun came out during a time when my relationship with cinema had weakened. I was still watching films, but I was playing it safe—avoiding films I thought might be boring or that I wasn’t sure I’d acclaim. I was confident I’d like Aftersun, but I wasn’t certain it would live up to the hype people had created around it. Eventually, I decided to watch it, and honestly, I think it’s even better than everyone says. Do I regret not watching it sooner? Definitely not, because I’m not sure it would have had the same impact on me back then. Now, though, it’s made the biggest impact a film possibly could.

Even days after watching Aftersun, I still feel a deep sense of sadness. It’s as though there’s a heavy weight on my chest or tentacles surrounding my heart. I’m gripped by fear of life’s inevitable struggles and filled with a desperate hope to rewind time.

I don’t exactly know why, but people feel obliged to live and keep themselves awake for a while. The reason, in many cases, is that people don’t want to distil their close ones or simply wait to expire. Existing is easy, but enjoying life is not. There’s no meaning in staying at rock bottom when no one is coming up with a solution.

1) The Substance (2024) [Re-watch]

It wasn’t my first time encountering The Substance. I initially watched it upon its release without knowing much about it. At the time, I had already seen Revenge (2017) by Coralie Fargeat, but I didn’t realize this film was also her creation. My film buddy suggested we watch it, and that’s how my journey with The Substance began.

The Substance serves as a scathing critique of artificiality in modern life. It addresses the societal pressures placed on women, driving them to obsess over beauty and appearance. At the same time, the film engages in self-reflection, offering a layered commentary. It highlights how men in the industry—and society at large—are quick to judge appearances and deliver cruel, hateful remarks. These judgments fuel insecurity and obsession, prompting many women (or anyone, for that matter) to seek ways to alter their looks. However, the film argues that while such societal pressures are problematic, artificial modifications and hiding behind masks are not the solution. It’s a clever and thought-provoking dual condemnation of both external judgment and internalized obsession.

The film’s visual style further strengthens its critique. Unlike many contemporary films that rely heavily on CGI, The Substance leans on makeup and practical effects, staying true to its thematic rejection of artificiality. The raw, tangible visuals bring a visceral quality to the narrative, making its message hit even harder.

I feel like I shouldn’t make it any longer but I have to mention about the make-up, The Substance pushes the boundaries of the dying body horror genre. It might be the best body-horror film in terms of implementing practical effects and make-ups. And, one of my all-time films for sure.

See you next month.