In 2025, cinema continues to evolve, offering a wide range of stories that delve into the complexities of human emotions, relationships, and societal norms. This shift is necessary, considering, as the entire Emilia Perez debacle has shown us, audiences are becoming more discerning, seeking authentic narratives rather than settling for tokenism disguised as progress. These five films, each unique in its storytelling, reflect this desire for authenticity and depth, making them must-watch films worth waiting for this year.

Mother Mary (Dir. David Lowery), TBA

What is it about?

As of now, Mother Mary has been described as “an epic pop melodrama following a fictional musician and her relationship with an iconic fashion designer,” starring Anne Hathaway and Michaela Coel, respectively. It has been hinted that the ‘relationship’ in question is more than just artistic.

Why are we excited?

Mother Mary marks David Lowery’s return to A24 after A Ghost Story (2017) and The Green Knight (2021), both of which achieved critical acclaim. Besides Hathaway and Coel, the film boasts a stellar cast lineup featuring some of Hollywood’s biggest names: Hunter Schafer, Kaia Gerber, Sian Clifford (Fleabag hive, we won!), and FKA twigs. Plus, the music will be provided by Charli xcx. How can we not be excited for this?

Pengepungan di Bukit Duri (Dir. Joko Anwar), 17 April 2025

What is it about?

Edwin (Morgan Oey) is starting out as a teacher at a school notorious for its troubled students. His attempt to boost morale is met with resistance, and he now has to not only teach but also fight to defend his own life.

Why are we excited?

After a slate of horror and fantasy films, Joko Anwar is finally returning to the thriller genre, one he hasn’t explored for a while. Based on the trailer, the film appears to tackle intersectional social issues, from class to ethnicity (with an emphasis on Edwin’s Chinese background). It’s also always exciting to see our local filmmakers backed by a legendary Hollywood studio like MGM. This means we get to witness a director working with the proper resources to realize their cinematic vision—something we hope will be granted more often to our talented filmmakers.

Materialists (Dir. Celine Song), TBA

What is it about?

A follow-up to Past Lives, Materialists follows a matchmaker’s lucrative business in New York, which becomes complicated when she falls into a toxic love triangle that threatens her clients.

Why are we excited?

When Past Lives came out in 2023, it delivered a sensitive love story that not only touched many people but also provided a specific portrayal of Koreans, both as natives and immigrants. Needless to say, expectations are high for Celine Song’s sophomore effort and what she will craft in this romantic comedy—especially while working with talents like Dakota Johnson, Chris Evans, and Pedro Pascal.

The Wedding Banquet (Dir. Andrew Ahn), 18 April 2025 (USA)

What is it about?

Min (Han Gi-chan) needs a green card, but his boyfriend, Chris (Bowen Yang), doesn’t want to be tied down just yet. So he proposes to his friend Angela (Kelly Marie Tran) for a green-card marriage in exchange for her partner Lee’s (Lily Gladstone) expensive IVF. But hijinks ensue when Min’s grandmother visits from Korea and starts planning an extravagant wedding for them.

Why are we excited?

We’re pretty apprehensive about the idea of a reboot, remake, or whatever Hollywood calls it these days. But after seeing Andrew Ahn’s Fire Island (2022), his ability to direct funny yet profound queer stories about chosen families feels like the perfect fit for updating Ang Lee’s 1993 classic. The film is also described as “a joyful comedy of errors about a chosen family navigating cultural identity, queerness, and family expectations.”

Mungkin Kita Perlu Waktu (Dir. Teddy Soeriaatmadja), TBA

What is it about?

A year after their daughter’s death and their son’s suicide attempt, a family is working through their grief and struggles: a father (Lukman Sardi) trying to keep it together, a mother (Sha Ine Febriyanti) who turns to religion to hide her guilt, and a son (Bima Azriel) trying to heal from his anxiety attacks.

Why are we excited?

Besides horror, domestic melodrama continues to be the bread and butter of our local film industry. But Teddy Soeriaatmadja’s gorgeous writing & direction brings a new dimension to family dynamics: when it comes to grief and mental health, does relying on psychological practices mean betraying our religious beliefs? The film interrogates our often fatalistic social norms and explores whether science and religion can coexist in healing psychological ailments.