Documentary

As an editor, the lion’s share of my job is about identifying the awards season’s most compelling stories and conveying them to our readers. But I do reserve a small sliver of time for the joys of advocacy, championing work that I love and hoping that converts readers into viewers, and perhaps even voters.

So, with no new issue this week, my New Year’s Eve newsletter felt like the perfect time to reflect on the movies and TV shows that moved me in 2025. And if you give them another look before you cast your awards ballots, all the better.

MOVIES

1. ‘A Little Prayer’ and ‘The Testament of Ann Lee’

David Strathairn and Jane Levy in “A Little Prayer.”

(Music Box Films)

I am not terribly spiritual myself, but I encountered transcendence twice at the movies this year. As quiet and beseeching as its title, Angus MacLachlan’s chamber drama “A Little Prayer,” about a family man (David Strathairn) navigating marital trouble between his son (Will Pullen) and his daughter-in-law (Jane Levy), uncovers varieties of religious experience in 19th century landscape painting and small, memorable kindnesses. As sweeping as the extraordinary life it depicts, Mona Fastvold’s biographical portrait “The Testament of Ann Lee,” which follows the Shaker leader (Amanda Seyfried) and her devotees from the textile mills of Manchester to the wilderness of colonial New York, carves sensuous art from the exalted song and dance of evangelical faith. But whether the scale is intimate or epic, both capture, to quote “A Little Prayer,” that rare thing: “a powerful sense of the sublime.”

2. ‘Sinners’

Michael B. Jordan in “Sinners.”

(Warner Bros. Pictures)

“Sinners” has rightly been praised for its novel twist on the vampire genre, its deep investment in African and African American music, its blockbuster box office in an era largely dominated by franchise IP. But perhaps the highest compliment I can give director Ryan Coogler may be that the Jim Crow Mississippi he conjures is so richly textured, so allergic to cant or cliche, that I’d have been just as riveted if the bloodsuckers had never shown up. That’s what it’s like to be in the hands of a master.

3. ‘Sorry, Baby’

Eva Victor in “Sorry, Baby.”

(Philip Keith / A24)

Eva Victor is not the first filmmaker to face trauma with a sense of humor, but few have done it with such a gentle, humane touch. As Victor’s Agnes moves through life in the aftermath of a sexual assault on her college campus, the writer-director-star focuses squarely on the slow, ungainly, ultimately profound work of healing — and includes some of the best gags about academia this reformed graduate student has ever seen. No apology needed: “Sorry, Baby” marks the arrival of a major talent.

4. ‘One Battle After Another’

Leonardo DiCaprio in “One Battle After Another.”

(Warner Bros. Pictures)

With elements of action, satire, political thriller and family melodrama, Paul Thomas Anderson’s wild yarn about the members of a revolutionary group — and the fallout that comes when the past catches up with them — is well-nigh indescribable. But it’s also unforgettable. Combining high-wire filmmaking with electric performances, it never relinquishes its grip on the viewer and invites multiple viewings. Which is just as well, considering that this one is going to be on the tip of our tongues all the way through the Oscars.

5. ‘Nouvelle Vague’

Zoey Deutch as Jean Seberg and Guillaume Marbeck as Jean-Luc Godard in “Nouvelle Vague.”

(Jean-Louis Fernandez)

The purest delight of the season is Richard Linklater’s mash note for the French New Wave, a zippy comedy of errors about the making of one of the most influential films of all time. As Jean-Luc Godard (the rakishly charming Guillaume Marbeck) tries to put “Breathless” together with spit, glue and attitude on the streets of Paris, “Nouvelle Vague” becomes as confident a caper as the original, with Jean-Paul Belmondo (Aubry Dullin) and Jean Seberg (a beguiling Zoey Deutch) as the French director’s oft-befuddled collaborators — and sometimes foils. To overlook a film with this much cinematic joie de vivre would be a crime.

6. ‘Sirât’

The rave sequence that opens “Sirât.”

(Neon)

The less said the better about Spain’s acclaimed Oscar submission, which takes such twists and turns as it wends its way through the Moroccan desert that it left me frozen, after my first screening, in a sort of defensive crouch. I simply suggest that you go on the journey with filmmaker Oliver Laxe as he follows a father (Sergi López) and son (Bruno Núñez Arjona) on their search for a missing loved one, beginning with a rave so lifelike it almost had me dancing in the aisles.

7. ‘Hedda’

Tessa Thompson, center, in “Hedda.”

(Matt Towers / Prime Video)

I must admit I went warily into “Hedda.” An awards-season Ibsen adaptation had, I feared, all the makings of a fusty, dour costume drama. Mea culpa, Nia DaCosta. Mea culpa. The filmmaker’s sharp, fresh take on “Hedda Gabler,” featuring mesmerizing performances from Tessa Thompson as the devious title character and Nina Hoss as her (gender-swapped) former lover, renders the play as provocatively, and vividly, for today’s viewer as it must have been for attendees at the Munich premiere in 1891 — and in the process reminds us why the original is an enduring classic.

8. ‘Sentimental Value’

Stellan Skarsgård and Elle Fanning in “Sentimental Value.”

(Kasper Tuxen)

No film this year has left me more eager for a rewatch than Joachim Trier’s delicate family drama, and I was rewarded with the sense that “Sentimental Value” is really two films, woven together so deftly that they can’t quite be unraveled. One is the story of two sisters (Renate Reinsve and Inga Ibsdotter Lilleaas) bonded by generational trauma. The other is about a filmmaker, their father (Stellan Skarsgård), recruiting a sympathetic outsider (Elle Fanning) to tell the story of his own. By the time these strands reach their conclusion, on a soundstage built to resemble the family manse, Trier’s thoughtful architecture pays off in the understanding that you really can go home again, because home is a state of mind.

9. ‘The Alabama Solution’

A still from “The Alabama Solution.”

(HBO Documentary Films)

In an especially strong year for documentaries, particularly those that appreciate, emulate or chronicle the work of investigative journalism, it seems a shame to single out just one. But from the moment of its Sundance Film Festival premiere, the movie by Andrew Jarecki and Charlotte Kaufman registered as a prime example of nonfiction storytelling’s unmatched ability to “comfort the afflicted and afflict the comfortable,” starting with its unflinching use of Alabama state prison inmates’ contraband cellphone footage of the shocking conditions they’re forced to endure. As advocacy, as exposé, as portrait of the fight for justice, no documentary has stuck with me this year quite like “The Alabama Solution.”

10. ‘All That’s Left of You’ and ‘The Voice of Hind Rajab’

Scenes from “All That’s Left of You,” left, and “The Voice of Hind Rajab.”

(Watermelon Pictures; Venice Film Festival)

One expands its tale of the Palestinian experience across continents and decades, the other condenses its saga to just 90 minutes, balanced on a knife’s edge between documentary and drama. But for all their stark stylistic differences, both “All That’s Left of You” and “The Voice of Hind Rajab” — along with films such as “Palestine 36” and “Put Your Soul on Your Hand and Walk” — urgently communicate, in specific human terms, the life-and-death consequences of a struggle for self-determination too often abstracted in the West to its “complicated” or “thorny” geopolitics. Whether the setting is Jaffa or Gaza, the subject a multigenerational family pushed to its breaking point or the fate of a single little girl, both will leave you shaken. As they should.

TV SHOWS

1. ‘Andor’

Diego Luna and Genevieve O’Reilly in “Andor.”

(Lucasfilm Ltd. / Disney)

Turning its portrait of reluctant rebel Cassian Andor (Diego Luna) into a kaleidoscopic thriller about a simmering revolution reaching the boil — and the authoritarian forces set on stopping them — “Andor’s” second season emerged, by degrees, as the year’s most astounding political allegory — on any size of screen. Aided by an ingenious structure, which divided its four-year arc into four, three-episode miniseries, it ensnared even avowed “Star Wars” skeptics, and featured both the best action set piece and the best monologue of the year.

2. ‘The Rehearsal’

Nathan Fielder in “The Rehearsal.”

(John P. Johnson / HBO)

Another sophomore step up, this iteration of “The Rehearsal” — which bordered on cavalier about its civilian subjects in Season 1 — finds impresario Nathan Fielder with more skin in the game, and so becomes a revelatory meta-comedy that lives up to its immense ambition. Come for the elaborate re-creation of American airports, stay for a surprisingly vulnerable Fielder investigating the possibility that he’s on the autism spectrum, and be wowed by the series’ real-world implications for pilot communication. Whatever aspect of “The Rehearsal” grabs you first, it’s the inimitable, inexpressible whole that makes it essential viewing.

3. ‘Adolescence’

Stephen Graham, left, and Owen Cooper in “Adolescence.”

(Netflix)

It would be easy to be jaded about “Adolescence,” which seems likely to follow in the footsteps of “Baby Reindeer” and win just about every award it’s eligible for. (It’s already notched eight Emmys.) But from the moment I first laid eyes on its extraordinary one-shots, I was persuaded that the series’ technical wizardry was no gimmick. As written by Jack Thorne and Stephen Graham and directed by Philip Barantini, in style and substance “Adolescence” captures polite society’s hold on young men spiraling out of control — and invests its central figure, Owen Cooper’s 13-year-old Jamie, with both the childishness and the menace to match.

4. ‘Elsbeth’

Carrie Preston in “Elsbeth.”

(Michael Parmelee / CBS)

I was glad to hear that CBS plans to campaign “Elsbeth” as a comedy at the Emmys in 2026, in part because it may improve Carrie Preston’s chances at a nod for her turn as irrepressible investigator Elsbeth Tascioni, and in part because the designation highlights what has always shined most in the legal universe of Robert and Michelle King. Here, it’s broader and brighter than the acerbic satire of “The Good Wife” and “The Good Fight,” and embedded in a “Columbo”-esque case-of-the-week structure, but the pair’s sense of humor — always keyed to punching up — continually works wonders, especially in a world where so much crime media is unrelentingly grim.

5. ‘The Pitt’

Noah Wyle in “The Pitt.”

(Warrick Page / HBO Max)

Given that “ER” was the first show my mom let me stay up late to watch, I wasn’t surprised to like “The Pitt.” But even with my high expectations, I was dazzled by the series’ ability to introduce such a wide array of characters in the pilot episode, and then to develop them all in a seemingly infinite variety of directions while solving one medical crisis after another. Indeed, forced by its “real-time” structure to keep the focus tight even as the stakes ratchet skyward, “The Pitt” registers as even richer, subtler and more relevant than its predecessor. May its heyday last just as long.

6. ‘Dying for Sex’

Jenny Slate, left, Sissy Spacek and Michelle Williams in “Dying for Sex.”

(Sarah Shatz / FX)

Since first seeing it in the spring, I haven’t been able to get out of my head the most hilarious moment in “Dying for Sex.” When Molly (Michelle Williams), early in a journey of sexual self-discovery prompted by a recurrence of cancer, falls victim to an online ransomware scam, she drops to the floor to escape the sight of her laptop camera — soon to be joined by her loyal but scattered bestie, Nikki (Jenny Slate), who is not much help but is great company. It had me doubled over with laughter, like so much of Liz Meriwether and Kim Rosenstock’s adaptation of the real-life story. The miniseries never pulls a comic punch despite the heavy subject matter, and is peppered with idiosyncratic choices and memorable performances that make it sing. Special shout out to Rob Delaney for turning a total slob named Neighbor Guy into one of the romantic heroes of the year.

7. ‘Forever’

Michael Cooper Jr. and Lovie Simone in “Forever.”

(Elizabeth Morris / Netflix)

The Emmy success of “The Studio” and the buzz around “I Love L.A.” may have somewhat overshadowed “Forever,” but they have given me consistent opportunities in 2025 to recommend my favorite L.A.-set show of the year. Mara Brock Akil’s warmhearted, meticulously wrought teen romance, channeling Judy Blume’s condescension-free interest in young people, paints a portrait of places in the city where those other series rarely go, and does so with uncommon sensitivity. I could watch “Forever,” well, forever. Plus, it features one of the year’s finest dramatic performances: Like the series as a whole, Karen Pittman’s protective mother transforms an archetype that could easily ring with cliches into a lived-in, multilayered portrait. Give me more, Netflix!

8. ‘The Gilded Age’

Audra McDonald, left, and Denée Benton in “The Gilded Age.”

(Karolina Wojtasik / HBO)

After two enjoyably low-stakes seasons, HBO’s New York-set spin on the upstairs/downstairs drama, created by “Downton Abbey’s” Julian Fellowes, breaks out of the (opera) box in Season 3. With ruined women, roguish men and more geegaws than you can shake a stick at — not to mention a character known to the internet as Clock Twink (Ben Ahlers) — the series remains a deliciously campy prime-time soap, but it now features moments of genuine romance, or regret, to accompany the social climbing. With Peggy (Denée Benton) finding love, Ada (Cynthia Nixon) finding fortune and conniver in chief Bertha Russell (Carrie Coon) finding herself on the outs with her wealthy husband (Morgan Spector), “The Gilded Age” has reached glorious maturity by developing a subplot for just about every taste, even one as lofty as the Van Rhijns’.

9. ‘The Paper’

Domhnall Gleeson in “The Paper.”

(Aaron Epstein / Peacock)

Call me a homer if you like for putting a show about the survival of local newspapers on this list. And when it comes to the indignities of 21st century journalism, “The Office” spin-off, from Greg Daniels and Michael Koman, certainly passes my fact-check. But more importantly, and sustainably, Peacock’s mockumentary treats the Toledo Truth Teller as the setting for a rock-solid workplace comedy, replete with a winsome editor in chief (Domhnall Gleeson), an ace reporter (Chelsea Frei) and a perfect foil, in the form of managing editor/aspiring influencer Esmeralda Grand (Sabrina Impacciatore, in perhaps the year’s funniest performance). Sure, I’m liable to root for any film of TV show that qualifies as a “love letter” to my chosen profession, but you can’t fake credibility. “The Paper” has the goods.

10. ‘Pluribus’ and ‘Paradise’

Sterling K. Brown in “Paradise,” and Rhea Seehorn in “Pluribus.”

(Disney; Apple TV)

One is full of jaw-dropping plot twists, the other meditative, often silent. One imagines the end of the world as we know it in terms of natural disaster, the other in the form of an extraterrestrial’s utopia. What Dan Fogelman’s “Paradise” and Vince Gilligan’s “Pluribus” share, though, is far more important than what sets them apart: a commitment to postapocalyptic storytelling rooted in flawed, compelling characters, not the minutia of megavolcanoes and mRNA. Indeed, as “Paradise’s” hero, Xavier Collins (Sterling K. Brown), squares off against the power-mad Sinatra (Julianne Nicholson) in an underground bunker, or “Pluribus’” Carol Sturka (Rhea Seehorn) clashes with stubborn ally Manousos Oviedo (Carlos Manuel Vesga) on an Earth overtaken by happy lemmings, what becomes clear about both series — and I mean this as a high compliment — is how ordinary they are. If you want to know how you might handle doomsday, you could do worse than starting here.

When three young girls die from leukaemia within a year in a Mexican town, the authorities insist that the water is not contaminated. A teacher and local mothers demand answers and form an action group to investigate the cause. When they team up with a scientist, they find out their water is highly radioactive.

Corporate agriculture for export has depleted the aquifers, leaving behind an ancient layer of groundwater that is poisoning their town. This revelation prompts national outrage and leads the government to cut off the town’s water supply, while some officials still claim that the water is safe.

As the community turns against the women, they face a difficult choice. They must either give up their activism or keep fighting for clean water and environmental justice.

The Age of Water is a documentary film by Isabel Alcantara Atalaya and Alfredo Alcantara.

In the quiet village of Kozubivka in Ukraine’s Poltava region, Nelia and her husband Oleksandr open their home to people displaced from Kharkiv, where bombing and shelling have forced thousands to flee.

But rebuilding a life in rural Ukraine is not easy. City people must learn to navigate unfamiliar routines on the farm, endure physical labour and bear the emotional weight of displacement. In the process tempers flare despite moments of tenderness.

Through these intimate encounters, Guests from Kharkiv reveals what it means to create community in the middle of a war and the courage it takes to adapt to a new way of life.

A documentary short by Halyna Lavrinets, produced by Eleron Pictures.

Facing the biggest challenge of his life, Sir Chris Hoy opens up about his journey with terminal cancer and how the mental strength he honed as a six-time Olympic cycling gold medallist is now helping him to inspire others.

Watch Sir Chris Hoy: Cancer, Courage & Me on Thursday, 18 December at 21:00 GMT on BBC One, BBC iPlayer and the BBC Sport website & app.

In an exclusive, wide-ranging interview recorded in October with Al Jazeera’s Fault Lines documentary programme, Iranian Foreign Minister Abbas Araghchi tells correspondent Hind Hassan that strikes by Israel and the United States in June caused “serious damage” to Iran’s nuclear facilities but insists its nuclear programme will continue.

“Technology cannot be eliminated by bombing,” he says, arguing that Iran’s scientific knowledge remains intact.

As Iran remains locked in a standoff with the US and refuses to renew negotiations while zero uranium enrichment demands remain in place, Araghchi says European snapback sanctions have undermined future cooperation with the United Nations nuclear watchdog, the International Atomic Energy Agency, and Iran would reconsider how it cooperates in the future.

Despite emphasising that “diplomacy is our priority,” the foreign minister insists that Iran is prepared to fight back if it is attacked again. Araghchi maintains that while Tehran has “never trusted the United States as an honest negotiating partner”, Iran remains prepared to engage diplomatically if both sides respect each other’s rights and pursue mutual interests based on equality.

Michele Singer Reiner, who was killed along with her husband, filmmaker Rob Reiner, on Sunday at their home in Los Angeles, was a photographer who moved from still images into filmmaking and later into producing, with work that blended performance, politics and persuasion. She was 70.

Singer Reiner was gigging as a photographer in the late 1980s, visiting film sets as part of her income. One of those sets was “When Harry Met Sally …,” the romantic comedy Rob Reiner was directing in New York, a film that would go on to become one of the era’s defining hits. Having divorced actor and director Penny Marshall eight years earlier, Reiner said he noticed his future wife across the set and was immediately drawn to her.

Scripted by Nora Ephron, the film was originally written to leave its central couple, played by Meg Ryan and Billy Crystal, separate, crossing paths over the years without ending up together. But after meeting Singer Reiner, Reiner reconsidered. He rewrote the final scene so the characters reunite and marry, an ending that helped make the film a beloved classic.

The two married in 1989, months after the film’s release. They went on to have three children: Jake, born in 1991; Nick, born in 1993; and Romy, born in 1997.

Hours after the couple were found dead at their Brentwood home, Nick Reiner — who had struggled for years with substance-abuse issues — was taken into custody and booked into Los Angeles County jail on suspicion of murder, according to jail records. He had spoken publicly about getting sober by 2015, when he worked with his father on “Being Charlie,” a semi-autobiographical film about addiction and recovery that Rob Reiner directed and Nick co-wrote.

After their marriage, Singer Reiner worked on several of Reiner’s films, as a special photographer on “Misery,” his 1990 adaptation of the Stephen King novel, among others. Their marriage also became a working partnership. As Reiner’s career expanded beyond studio films into documentaries and political projects, Singer Reiner — who earlier in her career had photographed the cover of Donald Trump on the photo of his 1987 bestseller “The Art of the Deal” — was closely associated with those efforts, collaborating on films and advocacy campaigns that increasingly overlapped.

Their civic strand emerged early. In the 1990s, she and Reiner started the I Am Your Child project, an effort aimed at raising awareness about early childhood development and expanding access to support services for parents.

The initiative coincided with Reiner’s emergence as one of Hollywood’s most prominent political voices. He was a founding board member of the American Foundation for Equal Rights, which led the legal fight to overturn Proposition 8, the California ballot measure that banned same-sex marriage. He was also a central figure behind Proposition 10, the California Children and Families Initiative, a landmark policy that created an ambitious statewide early childhood development program.

In the last decade, Singer Reiner moved more fully into producing. Her credits included such Reiner-directed projects as “Shock and Awe” (2017), “Albert Brooks: Defending My Life” (2023) and this year’s “Spinal Tap II: The End Continues,” as well as “God & Country,” a 2024 documentary examining Christian nationalism in the United States.

As news of their deaths spread, tributes emphasized the Reiners’ shared public life. Laurie David, an environmental activist and documentary filmmaker who was a close friend of the couple, wrote on Threads that “Rob & Michele — always referred to as Rob & Michele — were an extraordinary couple who worked side by side to make the world a safer, fairer and more just society.”

Former President Bill Clinton and former Secretary of State Hillary Clinton also issued a joint statement calling the couple’s deaths “heartbreaking” and pointing to what they described as the Reiners’ “active citizenship” in defense of “inclusive” democracy. “They were good, generous people who made everyone who knew them better,” the statement said.

Former House Speaker Nancy Pelosi called the loss “devastating,” writing that while Reiner was creative, funny and beloved, Singer Reiner was his “indispensable partner, intellectual resource and loving wife” in all of their endeavors.