The Envelope picks the best movies, TV shows of 2025

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’

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’

“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 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’

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’

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 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’

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’

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’

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’

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’

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’

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’

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’

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’

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’

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’

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’

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’

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’

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.