Virginia Film Festival 2025

We all have heard of the story of Frankenstein before, whether from the Universal Monster classic horror flicks, the halloween costumes from around the globe, or your high school English class. However, this year we have quite possibly the best interpretation of the creation—and the most faithful since Mary Shelly’s original novel back in 1818.

Frankenstein is a perfect example of a master of his craft operating on a full, grand, operatic scale, as it is just a luscious film to look at. If you want proof, look no further than the stunning production design, the hauntingly detailed manor, the intricate architecture, or the gorgeous period costumes. You can marvel at the makeup work that transforms Jacob Elordi, the way his physicality and design shape the character, or the delicate expressions he gives to humanize this unfortunate creature. Every single element of this film is just beautiful to behold.

But beyond how visually striking it is, Frankenstein hits hard as a viewing experience. I went in already excited, as Guillermo del Toro is one of cinema’s most creative voices. This is the man who gave us the most unique Best Picture winner in recent memory with The Shape of Water, brought the legendary story of Pinocchio to stop motion, and broke boundaries with Pan’s Labyrinth. I have no shortage of elements to gush about in this film, so if you want me to go more in detail as to why this film blew my mind, check out my review here.

Nia DaCosta boldly reimagines the iconic stage production of Hedda Gabler for modern audiences starring Tessa Thompson in the title role but gender swapping her past flame.

Hedda is beautiful from head to toe. Sean Bobbitt’s cinematography is drop-dead gorgeous, with these long, extended takes that are highly stylized. Bobbit’s camera moves around if it is a guest at this grand party, framing its actors masterfully as it lingers throughout entire conversations. Hildur Guðnadóttir’s score is glamorous and acts almost like its own character inside the story, constantly evolving and adapting to its surroundings. Her score is working with so many different dynamics throughout and is another entry into her stacked catalog. 

Recipient of this year's Craft Award, Cara Brower, for her production design of Hedda.  Bower touched on how excited she was to take on a new challenge with the design of this film: “I am just honored that Nia [Dacosta] believes in me and continues to give me the opportunity.” I found her work to be stunning, transforming this English manor into such a lived-in, grand space. There’s something new to catch your eye in every corner.

And most importantly, Tessa Thompson is absolutely exquisite as Hedda Gabler. She’s so fierce and demands your attention from start to finish. Thompson plays Hedda in a very playful manner, nailing the moments of cunningness Hedda always seems one step ahead of her foes. Thompson completely devours DaCosta’s updated screenplay, which smartly reimagines the iconic stage show for modern audiences.

One of the true highlights of attending these regional fall film festivals is getting the chance to see some of the biggest award winners from the Big Three, Cannes, Venice, and Toronto. While I sadly missed out on Toronto International Film Festival winner Hamnet this year, and the Golden Lion at Venice Father Mother Sister Brother was absent from the lineup, I am thrilled to report that once again, the Palme d’Or winner from Cannes ended up being one of my favorite screenings of the entire Virginia Film Festival.

Last year, Anora brought the house down on opening night. This year, Jafar Panahi’s It Was Just an Accident evoked the same feeling. The film begins with a simple accident that spirals into a tense, emotionally-charged confrontation between a group of former political prisoners and the man who may have once held them captive. Suddenly, these survivors are forced to decide whether to seek revenge for the pain he may have caused them. 

It Was Just an Accident is a gripping thriller that also packs a surprisingly comedic punch. For as often as you may be holding your breath and watching in silence, you will also find yourself laughing loudly at this quick paced flick. It Was Just an Accident keeps you in shock from start to finish, thanks in large part to Panahi’s direction. Panahi’s mastery behind the camera is on full display. It left me on the edge of my seat, to the point where it is difficult to stand after the film comes to its stunning conclusion.

This is absolutely one of those films best experienced with as little prior knowledge as possible. Go in blind, let it wash over you, and marvel not just at its important political message, but at how stylish, entertaining, and effective It Was Just an Accident is.

When the lights came up, the theater buzzed with excitement and admiration: a shared understanding that we had just witnessed something special.

Little Amélie or the Character of Rain is a very sweet little film that will give you everything you could possibly want from it. To Amélie, the world is a calm and puzzling wonder… until a single, magical encounter with chocolate sparks her restless curiosity. Through her growing friendship with the family’s housekeeper, Nishio, she begins to see the beauty of the natural world and uncovers the hidden emotions that lie beneath her family’s picture-perfect life as foreigners in post-war Japan.

The film starts off as a lighthearted, comedic time. But over the course of the runtime, you learn to love life alongside Little Amélie. Whether we watch her grow closer with her family or make new friends, experiencing the highs and lows of what being a person is all about with her is a delight. In fact, I connected so much with Amélie that I may have shed a tear or two by the end of this film.

I think the real highlight of Little Amélie is the fact that this is a movie for everyone. While it is stylistically crafted for younger audiences, I think that anyone could go into this movie and come away with their own unique insight that they can treasure long after the film comes to a close. 

Iceland’s submission for this year's International Feature race is a return for director Hlynur Palmason after their film Godland was showcased at VAFF a few years ago. The Love That Remains plants the viewers alongside a year in the life of a separating family. We spend time with both parents individually as they learn to move on from a relationship that used to be their entire life. What begins as a small family drama-comedy, featuring some amazing performances from the director’s two sons and daughter, eventually grows into something more abstract and weird. It tackles themes of fading love and spontaneity in a bittersweet manner that wormed its way into my heart.

Do you like fun times? Do you like your fun times to be hilarious? Do you like your hilarious fun times to be completely unhinged? A few days ago, I saw a movie at this year's festival that radiated with cult-classic midnight screening energy that’s been running for decades. And the crazy part is… it does not even come out until next year.

The energy inside this theater was electric. People showed up in full costume, some even dressed as Matt Johnson’s character. Others wore merch from their past projects, from the original TV show to old comedy specials. The whole place felt like a fan convention and a comedy show rolled into one, but the second the film started, the crowd immediately locked in. Every time the duo’s names appeared on screen, the room erupted into cheers. Every joke landed, which is such a positive when the jokes come from all directions. You have references, body humor, gags, punchlines, and everything in between. The laughter never stopped from beginning to end. It reminded me of watching The Naked Gun earlier this year, as it has that same “jokes-per-second” energy that is just pure chaos in the best possible way. 

Without a doubt, Park Chan-Wook is one of the most iconic voices in the modern era of international cinema. From his unforgettable Oldboy to his genre-bending Decision to Leave, Park has spent his entire career pushing the boundaries of what film can do. His latest work, No Other Choice, is no exception. Led by Lee Byung-hun, the film not only reminds audiences why he is such a magnetic presence but also reveals new shades of his talent, as he delivers one of the most darkly humorous and unexpectedly human performances of the year.

No Other Choice follows Lee as a devoted family man who seems to have life figured out, until the day he abruptly gets the axe from his long-term job after an American company buys out the warehouse where he works. Suddenly, the man who had it all finds himself unemployed and desperate to retain the life he had built for his family. One could even say he has… no other choice… than to ensure he secures a new job. And what better way to do that than to be the only applicant left standing?

What follows is pure Park Chan-wook chaos. No Other Choice is one of the wildest, most unpredictable viewing experiences I’ve ever had at VAFF. Beyond the insane narrative directions this film takes you in, it also is a visual showcase of Park’s mastery behind the lens and an exhibit for his meticulous cinematography and razor-sharp editing. This is absolutely a film you need to go into blind. Just sit back, relax, enjoy the madness behind Park Chan-wook’s No Other Choice.  

Norway’s selection for this year's upcoming Academy Awards is the Cannes Grand Prix-winning Sentimental Value, directed and written by Joachim Trier.  Following up his festival and audience smash hit The Worst Person in the World, Trier’s newest finds two sisters re-uniting with their estranged film director father after he returns to their lives and offers roles in his upcoming production.

While Sentimental Value has a brilliant script, it is elevated by its fantastic ensemble. Renate Reinsve delivers an incredible, emotionally-charged performance that showcases why she is one of the buzziest actresses working today. Her on-screen sister Inga Ibsdotter Lilleaas, is just as fantastic in the movie and is quietly the film’s MVP. Meanwhile, Stellan Skarsgård showcases why he has had such longevity in Hollywood and delivers another great performance to add to his already impressive catalog. These performances are all deservingly in awards contention, and I for one have high hopes for their chances.

Sinners is the cultural event of 2025. I have previously raved about this film on the site, and I will never turn down a chance to see this one-of-a-kind, original piece of filmmaking on the big screen again.

What made this particular screening of Ryan Coogler’s 1930s-set vampire horror musical all the more special was the presence of the 20-year-old breakout star and musical prodigy Miles Caton, who plays Sammie Moore in his acting debut. Caton was in attendance to accept the Achievement in Film Music Award, and the energy in the room was electric from the moment he stepped on stage.

During the post-screening Q&A, Caton shared a hilarious story about his audition process. “I honestly didn’t know what Sinners was really about,” he laughed. “I thought it was a Sam Cooke biopic. After I did the in-person audition, two weeks later Ryan [Coogler] called me and told me he wanted me to be part of this project… but once I got the full script and read it cover to cover, I was like, ‘Oh—this is different, man. This is going to be special.’”

And special it was. Caton closed the screening by performing his show-stopping number, “I Lied to You,” bringing down the house in front of a 1,000 people sold-out crowd all singing along. It was one of those rare moments where you could feel everyone realizing they were witnessing a star being born.

Sirāt definitely had my Virginia Film Festival audience exploding during its runtime. Oliver Laxe’s Cannes award-winner is pure vibe: the kind of film that grabs you, shakes you, and does not let go. Spain’s submission for this year’s Best International Feature category follows a father and son arriving at a desert rave in search of their missing daughter, but what they find instead is beyond anything you can imagine.

Its opening sequence alone is hypnotic. Watching Sirāt in a packed theater with a sold-out crowd bopping their heads in sync to the EDM pulse of the score, completely electrified for what lays ahead on the dusty road ahead, was a transcendent experience. Even with all of the wild buzz surrounding Sirāt since May at the Cannes Film Festival, you will never be able to predict where it goes.

Festival audiences know within the first five minutes whether they are on Sirāt’s wavelength or if they should turn around. Are you willing to surrender to the rhythm, dancing alongside these lost souls on their journey? Or will you resist the movement, sitting coldly with your arms crossed? Whichever path you may find yourself heading down, I firmly believe if you endure the pain, the film finds a one-of-a-kind way to suck you in. And once it does, it never loosens its grip on you, as what unfolds is both uniquely mesmerizing and chillingly horrifying like no other.

I’m so glad I squeezed Sirāt into my jammed packed schedule, because when those jaw-dropping moments occur inside this film, the VAFF audience completely lost it. I am talking about shrieks like someone found a rat running under their seat or feeling a snake crawling up their legs. Those were some of the loudest, most memorable reactions I have ever heard in any theater.

Sirāt is the type of theatrical experience that you can never recreate once the cat is out of the bag, but that is exactly why festivals like VFF exist: to bring us moments to feel something wild, to face it in a communal setting, and leave with an unforgettable night.