The Best Film Performances of 2025

Many of the top movies of 2025 feature strong casts, with several boasting half a dozen performances that could earn year-end awards. This trend started early in the year with Sinners, which showcased career-defining work from Michael B. Jordan, Hailee Steinfeld, Delroy Lindo, Wunmi Mosaku, Jack O’Connell, and newcomer Miles Caton. Later, One Battle After Another became a major awards season contender in September, thanks to outstanding performances from Leonardo DiCaprio, Teyana Taylor, Chase Infiniti, Benicio del Toro, Sean Penn, and Regina Hall, all of whom seemed like potential Oscar nominees.

When choosing the best film performances of the year, I decided to highlight only one actor per movie. Even with that rule, I still couldn’t find space for anyone from Sentimental Value, despite being completely captivated by the entire cast – Stellan Skarsgård, Renate Reinsve, Elle Fanning, and Inga Ibsdotter Lilleaas. I also didn’t include Emma Stone or Jesse Plemons, who delivered incredible performances in a tense and gripping Bugonia. And despite their strong work, George Clooney, Adam Sandler, and Billy Crudup – as the complex and troubled friends of Jay Kelly – were left off the list, hoping for recognition from the Academy instead.

It was incredibly difficult to choose just one actor from Hamnet, which meant I had to leave out Paul Mescal, Emily Watson, and, most regrettably, Noah Jupe. His performance as Hamlet in the final scenes is vital to the film’s emotional impact. Similarly, Weapons had one standout performance, forcing me to exclude strong work from Alden Ehrenreich and Austin Abrams. And choosing a smaller, but powerful, supporting role from Train Dreams meant I couldn’t include Joel Edgerton’s nuanced and captivating performance.

I need to apologize to Julia Roberts and Jennifer Lawrence, both of whom delivered fantastic performances in After the Hunt and Die My Love, but didn’t quite make it into my final list. I also regret leaving out Tim Robinson, whose hilariously awkward comedy shone in Friendship, and Tom Blyth, who gave a compelling performance as a conflicted character in Plainclothes. If it hadn’t been such a strong year, I would have included Seymour Hersh, who is strangely captivating in the documentary Cover-Up. To have left these actors out, the 17 performances that did make the cut must be truly exceptional.

Mariam Afshari, It Was Just an Accident

Everyone in Jafar Panahi’s film plays a part in balancing seriousness with moments of lightness, as this group of people, all survivors of harsh treatment by the Iranian government, try to decide whether to punish the man they believe was responsible for their suffering. However, Mariam Afshari delivers the film’s most powerful scene. Throughout most of the story, her character, Shiva, is the voice of reason, having worked hard to rebuild her life after being imprisoned and determined to avoid falling back into a cycle of revenge. But as the film builds to its emotional climax, Shiva can no longer contain her pain, and Afshari powerfully portrays years of agony and fear. Her ability to make Shiva’s anger so understandable – especially with Panahi filming her in the glow of red taillights – is what truly unlocks the film’s emotional core.

Everett Blunck, Griffin in Summer

There’s something captivating about the way we see theater kids portrayed, both by those who’ve been there and those who’ve just watched from the outside. In movies and TV, they’re often shown as overly sincere (like in Glee), stuck in a perpetual state of adolescence (Theater Camp), or dramatically larger than life (Wicked, where Glinda embodies this perfectly). Everett Blunck’s portrayal of Griffin in Griffin in Summer feels especially realistic for such a young actor. He plays Griffin as a young playwright who’s both free and frustrated – liberated by his love of theater, but annoyed by the poor acting of those around him. He pushes away his mother and friends, and then a handyman throws his teenage world into turmoil. Blunck avoids making Griffin overly cute or sad; instead, he captures Griffin’s strong-willed and particular personality, creating a character that feels authentic and is surprisingly uncommon on screen.

Jessie Buckley, Hamnet

This year’s Oscar race is unusual, and Jessie Buckley’s incredibly moving performance in Hamnet is already being overlooked, despite the film only being shown in a few theaters. This is frustrating for many reasons, but especially unfair to Buckley, whose work is far better than typical “Oscar-bait” movies. As Agnes Shakespeare, in this fictionalized story inspired by Maggie O’Farrell’s novel, Buckley creates a captivating character long before the film’s central tragedy occurs. Her Agnes is a free-spirited, unconventional woman connected to nature, deeply attracted to William Shakespeare (played by Paul Mescal) but hesitant to embrace the traditional roles of wife and mother. Buckley expertly portrays this inner conflict, making the bonds Agnes eventually forms with her children feel deeply natural and primal. In the second half of the film, when Agnes experiences profound grief, Buckley delivers a performance of astonishing emotional depth, making even the most intense pain feel authentic and justified.

Rose Byrne, If I Had Legs I’d Kick You

Rose Byrne began her career in dramatic films like Troy and Sunshine, but she’s become best known for her comedic roles in movies such as Bridesmaids, Neighbors, and Spy. Despite her talent, she hasn’t always received the recognition she deserves. What makes If I Had Legs I’d Kick You stand out is that while it deals with serious issues like motherhood, guilt, depression, and anger, it also has a wonderfully quirky and over-the-top energy that perfectly suits Byrne’s comedic strengths. The film challenges Byrne to expertly balance these contrasting tones as her character, Linda, juggles a frightened daughter, a husband offering support from afar, and a frustrating battle with the medical system – all while navigating her roles as a psychologist, a patient, and a worried mother. The director keeps the camera focused intently on Linda, demanding a constant, powerful performance from Byrne.

Timothée Chalamet, Marty Supreme

According to Marty Mauser, he’s on the verge of global fame – he just needs funding to travel to Japan, defeat his Ping-Pong opponent, secure a deal with a powerful businessman, win over a movie star, and launch his signature orange Ping-Pong balls. Timothée Chalamet perfectly embodies this character, using his youthful appearance and confident attitude to play someone ambitious and slightly out of his depth. There’s always been a sense that Chalamet’s success is unsustainable, as if everyone’s waiting for him to stumble. But, like Marty, he can maintain his momentum as long as he doesn’t dwell on the possibility of failure. Chalamet brings relentless energy to the role – and to everything he does, including his pursuit of an Oscar, which he may very well achieve with this particularly bold performance. It’s a captivating performance, not because of deep emotion or charisma, but through a determined, and sometimes frustrating, persistence.

Laura Dern, Is This Thing On?

A standout aspect of Bradley Cooper’s new film is the substantial role given to Laura Dern. Her character’s breakup isn’t one-sided, allowing Dern to portray a complex mix of frustration, anger, insecurity, drive, and sensuality. In recent years, Dern has become known for playing strong, often wealthy, women in shows like Big Little Lies and Marriage Story. I was beginning to fear Hollywood had forgotten her ability to play truly relatable characters, but she delivers a grounded performance in Is This Thing On? as she navigates a separation, aiming for the best possible outcome while minimizing harm. Dern skillfully understands that the film’s success hinges on avoiding a simple ‘winner’ or ‘loser’ dynamic, and she portrays Tess as someone willing to both compromise and assert herself in a way that feels surprisingly authentic.

Jacob Elordi, Frankenstein

Jacob Elordi’s performance in Frankenstein is incredibly impressive. He was prepared to play a legendary character, but then faced the added challenge of performing largely hidden under makeup and prosthetics, alongside a co-star who doesn’t quite measure up (no offense to Oscar Isaac, who is usually excellent). Despite these obstacles, Elordi succeeds. Considering how well he played detached characters in Saltburn, he’s surprisingly expressive and relatable here. The movie feels directionless until he appears, and his powerful, angry scenes in the Arctic landscapes finally give the film the impact it needs.

Ethan Hawke, Blue Moon

A stage adaptation of Blue Moon exists that’s essentially a one-man show, where Lorenz Hart delivers a monologue filled with complaints, reluctantly lists his successes, makes snide remarks about others, and overly protests his opinions on Richard Rodgers’ Oklahoma! I’d gladly pay full price to see it. While Ethan Hawke doesn’t perform Blue Moon alone, he shares scenes with Bobby Canavale, Jonah Lees, Patrick Kennedy, and eventually Andrew Scott, who plays Rodgers. Throughout these interactions, Hawke’s portrayal of Hart remains consistent: he talks rapidly, pesters everyone, insists on having his way, and simply can’t control himself, often in the most direct sense of the word.

William H. Macy, Train Dreams

Much of the film Train Dreams explores the search for the essence of America – in its landscapes, but also in the spirit of those who built the nation, even as they changed those same landscapes. Director Clint Bentley and his team convey this subtly throughout the movie, but it’s powerfully stated in a short performance by William H. Macy. Macy is known for playing supporting roles, even though he could be a leading man, and he perfectly embodies this duality as Arn Peeples, a thoughtful demolitions expert. Arn’s job is to clear a path for the railroad, which clashes with his own introspective nature. He’s a thinker disguised as an old man, and Macy brings just the right blend of warmth and eccentricity to the role, making his character memorable long after he’s gone from the screen.

Amy Madigan, Weapons

I especially love highlighting performances in year-end lists that deserve praise but likely won’t receive awards. These are often smaller roles, or characters who are strange or comedic, but the actor brings something special to them. You end up jokingly suggesting they should win a Nobel Prize, knowing it’s a long shot. In the film Weapons, Shiori Madigan could have easily played her character, Aunt Gladys, as a caricature, relying on the outlandish makeup and costumes. However, Madigan is a skilled actress, and the director, Zach Cregger, skillfully captures the nuance in her performance. It’s chilling how calmly she delivers threats, and moving to see her vulnerability in a quiet, stripped-down scene. This isn’t just a fun, over-the-top performance—it’s genuinely powerful and real.

Wunmi Mosaku, Sinners

Wunmi Mosaku is a standout performer in Sinners, even though her role is more subtle than others. She plays Annie, the wife of Smoke (Michael B. Jordan), who he left behind to pursue a life of crime in Chicago. Annie seems like she could be the key to helping Smoke deal with the pain of losing his child, but Mosaku avoids making her a simple character. She brings a lot of energy and depth to the role, allowing Annie to hold her own alongside more prominent characters like Smoke, his brother Stack, and Mary (Hailee Steinfeld). Mosaku and Jordan convey a wealth of history between their characters through their body language, without needing a lot of dialogue. And when danger arrives, Mosaku’s strength and determination make you wish the movie would focus on her defending her community for a while longer.

Wagner Moura, The Secret Agent

A key scene in The Secret Agent shows Armando (Wagner Moura) and his wife, Fatima (Alice Carvalho), facing off against a powerful and corrupt businessman. He wants to exploit Armando’s research and deliberately insults Fatima to punish him for speaking out. Wagner Moura’s passionate defense of her is the emotional heart of the series. The rest of the story explores the consequences of this encounter – it’s why Armando is in hiding with other political refugees while the Brazilian government cracks down on opposition. Moura delivers a largely internal performance, conveying Armando’s anger and frustration through subtle facial expressions. The flashback reveals the intense rage beneath the surface, transforming what could have been a subdued role into a powerfully restrained performance.

Liam Neeson, The Naked Gun

I was surprised multiple times while watching the new Naked Gun movie, finding myself thinking about Liam Neeson’s Oscar nomination for Schindler’s List. It’s odd to consider that role given how different his career has become. Even after his action-hero phase with films like Taken, I didn’t expect him to be so perfectly cast as the bumbling police lieutenant Frank Drebin. His American accent is spot-on for the character’s dry delivery – tough, but not overly sophisticated. Neeson also uses his imposing size and tough-guy image to great comedic effect, bringing a more forceful, chaotic energy to the role than Leslie Nielsen did. Whatever he did to prepare, it’s the funniest performance of the year – wonderfully silly and lighthearted.

Dylan O’Brien, Twinless

James Sweeney’s funny and touching film explores loneliness and longing, featuring a remarkable performance from Dylan O’Brien, who plays identical twin brothers with completely different personalities. The film introduces us to Roman, who is mourning the loss of his brother, Rocky, and is finding comfort in a new connection with a shy man named Dennis. Then, in a surprising twist, we see O’Brien as Rocky – charming, confident, and irresistibly attractive. The film relies on Rocky being captivating, and O’Brien perfectly embodies that. Either role would have been the best work of O’Brien’s career so far.

Josh O’Connor, Wake Up, Dead Man

Rian Johnson’s Benoit Blanc mysteries are known for being both clever whodunits and genuinely funny. While Wake Up, Dead Man still has plenty of humor, it’s surprisingly heartfelt, and that sincerity comes from Josh O’Connor’s performance as Reverend Jud Duplenticy, not from Daniel Craig’s Blanc. O’Connor plays a priest who turned to religion to escape a rough past, and his character fiercely believes in the Church, even when Josh Brolin’s Monsignor Wicks is revealed to be a cruel and controlling leader. O’Connor finds humor in Jud’s growing disappointment, but also convincingly portrays his sincere desire to do good through his ministry. It’s a delicate balance, and O’Connor nails it, avoiding anything that feels overly sentimental. The film relies heavily on O’Connor’s character – Blanc is less central than in previous films – and it almost falters when Jud isn’t on screen. Luckily, the risk pays off beautifully.

Théodore Pellerin, Lurker

Alongside Twinless, Alex Russell’s Lurker is another standout film exploring the darker side of queer infatuation. Théodore Pellerin, known for his roles in Never Rarely Sometimes Always and Solo, plays Matthew, a record store worker who becomes fixated on rising pop star Oliver (Archie Madekwe). Matthew hides his obsessive fandom and cleverly inserts himself into Oliver’s life through flattery and an understanding of social media. Pellerin portrays a chilling emptiness within Matthew, skillfully depicting the blurry line between devotion, predatory behavior, and genuine attraction. He fixates on Madekwe, seeing him as both an ideal and a target, gradually encroaching on Oliver’s personal space, and drawing the audience into Matthew’s disturbing obsession.

Teyana Taylor, One Battle After Another

Teyana Taylor is the secret weapon of Paul Thomas Anderson’s latest film. Her character ignites the story, bringing a captivating star quality that deserves a wider audience. Taylor has been a multi-talented force – singer, actress, model, and choreographer – since her teens, and it’s remarkable to see her command the screen alongside established stars like Leonardo DiCaprio and Sean Penn. She embodies a compelling mix of strength and vulnerability, much like her role in 2023’s A Thousand and One, portraying a character who both charms and confronts a white supremacist while using her pregnancy as a shield. Taylor’s performance is so strong that it elevates the film’s weighty themes of morality, community protection, and the dangers of the military-industrial complex, rescuing the story in its early stages and keeping it afloat even after her character’s departure.

2025-12-01 16:58