Film is so back. Shooting on Kodak film continues to be both a more popular choice among filmmakers and to gather more Oscar prestige. At this year’s Academy Awards Sean Baker’s Best Picture winner, “Anora,” was shot on 35mm by cinematographer Drew Daniels; Brady Corbet’s Best Cinematography winner, “The Brutalist,” was shot on 35mm VistaVision to great aplomb by DP Lol Crawley; Walter Salles’ Best International Feature Film winner, “I’m Still Here,” was shot on both 35mm and S8mm by cinematographer Adrian Teijido; and the Best Live Action Short winner, “I’m Not a Robot,” was also shot on 35mm.

2025 looks set to build on that success. There will be a cohort of prominent movies captured on film from some of the usual analog-loving directors: Ryan Coogler’s “Sinners,” Luca Guadagnino’s “After the Hunt,” Wes Anderson’s “The Phoenician Scheme,” Yorgos Lanthimos’ “Bugonia,” Josh Safdie’s “Marty Supreme,” Benny Safdie’s “The Smashing Machine,” and Paul Thomas Anderson’s “One Battle After Another.”

But there are surprises as well: Gareth Edwards is embracing 35mm for the first time on “Jurassic World Rebirth,” shot by John Mathieson (“Gladiator II”), and James Sweeney’s acclaimed black comedy, “Twinless” (the Sundance Audience Award winner), was shot on 35mm by cinematographer Greg Cotten.

Here is a rundown of 2025 movies shot on film, with updates to come. 

2025 Release Dates

“The Last Showgirl” (Roadside Attractions, January 10)

Gia Coppola’s 2024 poignant drama about a glam Las Vegas showgirl (Pamela Anderson) confronted by a bleak future was shot on 16mm by cinematographer Autumn Durald Arkapaw (“Mainstream,” “Palo Alto”) to capture the raw and gritty milieu with lots of grain. Coppola received the Auteur Award at the 2025 Kodak Film Awards.

“I’m Still Here” (Sony Pictures Classics, February 7 limited, February 14 expanded)

The Oscar-winning Brazilian biopic about lawyer and activist Eunice Paiva (Fernanda Torres) confronting her country’s dark legacy of dictatorship, was released commercially last month. Cinematographer Adrian Teijido (“Sergio”) brings a tactile, grainy look that evokes the political turbulence of the ’70s.

“The Electric State” (Netflix, March 14)

The big-budget sci-fi comedy-drama from the Russo brothers (Anthony and Joe) offers an alternate retro-futuristic version of the ’90s about the fight for robot rights, starring Millie Bobby Brown, Chris Pratt, and a large ensemble of cartoonish robots. The 35mm/hybrid, shot by cinematographer Stephen F. Windon (“The Fast and the Furious” franchise), evokes a dreary wasteland surrounded by the beauty of the American West.

“The Friend” (Bleecker Street, March 28)

The New York dramedy from directors David Siegel and Scott McGehee (based on the best-seller by Sigrid Nunez) revolves around a teacher (Bill Murray), his best friend (Naomi Watts), and his Great Dane that she adopts after his passing. It’s shot on 35mm with a warm glow by cinematographer Giles Nuttgens (“Hell or High Water”).

“Sinners” (Warner Bros., April 18)

The vampire film, set in the ’30s Jim Crow-era South, finds Michael B. Jordan in the dual role as twins Smoke and Stack, who return to their hometown and experience an even greater horror than before. The director describes it as “genre-fluid,” floating in and out of the supernatural and the spiritual, defined by the religious fervor of the light and the subversive blues of the dark. It was shot by cinematographer Durald Arkapaw (“Black Panther: Wakanda Forever”) on 35mm and 65mm (using both IMAX and Ultra Panavision cameras).

“Hurry Up Tomorrow” (Lionsgate, May 16)

Trey Edward Shults’ psychological thriller marks the acting debut of Toronto superstar The Weeknd (Abel Tesfaye), who plays a fictionalized version of himself plagued by insomnia, which unleashes a mysterious stranger (Jenna Ortega) who drags him into an existential odyssey. Barry Keoghan tags along for support. Cinematographer Chayse Irvin (“BlacKkKlansman”) shot on 35mm, 16mm, and S8 for trippy effect.

“Tornado” (IFC Films, May 23)

John Macklean’s samurai-influenced survival thriller finds a young Japanese woman (Kôki), who gets caught up with criminals led by Tim Roth in 18th-century Britain. Shot on 35mm by cinematographer Robbie Ryan (“Poor Things”).

“The Phoenician Scheme” (Focus Features, May 30 limited, June 6, expanded)

Wes Anderson tackles a father-daughter drama (Benicio del Toro and Mia Threapleton) wrapped around an espionage thriller (co-starring Michael Cera, Tom Hanks, Bryan Cranston, Riz Ahmed, Jeffrey Wright, Scarlett Johansson, Rupert Friend, and Benedict Cumberbatch). This marks Anderson’s first collaboration with Bruno Delbonnel (“Amélie”), who shot on 35mm.

“Materialists” (A24, June 13)

Celine Song’s romcom follow-up to “Past Lives” stars Dakota Johnson as a high-priced New York matchmaker. Chris Evans and Pedro Pascal are joined by Zoë Winters, Marin Ireland, Dasha Nekrasova, and Louisa Jacobson. This was shot on 35mm by cinematographer Shabier Kirchner (“Past Lives”).

“Jurassic World Rebirth” (Universal, July 2)

Gareth Edwards (“The Creator”) directs the seventh installment, starring a new cast of characters, and an analog visual look, courtesy of DP Mathieson. Scarlett Johansson plays a covert operative hired by a pharmaceutical company to team up with paleontologist Jonathan Bailey and team leader Mahershala Ali to infiltrate the site of the original research facility for Jurassic Park and collect DNA from prehistoric creatures to create a revolutionary drug to save humanity.

“One Battle After Another” (Warner Bros., August 8)

Paul Thomas Anderson loosely adapts Thomas Pynchon’s “Vineland” (the collapse of the counter-culture with the re-election of Reagan) as a nearly three-hour chase film, with Leonardo DiCaprio and Regina Hall being pursued by Sean Penn’s white supremacist. Shot by cinematographer Michael Bauman (“Licorice Pizza”) on 35mm (VistaVision cameras have been spotted but officially unconfirmed), this will be the first Anderson film headed for IMAX screens.

“Roofman” (Paramount, October 3)

Derek Cianfrance’s true-crime story, shot by cinematographer Andriji Parekh (“The Zookeeper’s Wife”) on 35mm, finds Channing Tatum as a struggling dad and a former Army Ranger, who robs McDonald’s restaurants by cutting holes in their roofs. Co-stars Kirsten Dunst and Peter Dinklage.

“After the Hunt” (Amazon MGM, October 10 limited, October 17 expanded)

Guadagnino tackles a psychological drama not about sex or love, shot by cinematographer Malik Sayeed (“Clockers”) on 35mm. Julia Roberts’ college professor harbors a dark secret that threatens to surface when one of her students (Ayo Edebiri) levels serious allegations against colleague Andrew Garfield.

“Bugonia” (Focus Features, November 7)

Lanthimos pivots to sci-fi comedy with this English-language remake of “Save the Green Planet” from Jang Joon-hwan, shot on 35mm by go-to cinematographer Ryan (“Poor Things,” “The Favourite”). In a gender-swap, Emma Stone plays a high-powered CEO of a major pharmaceutical company who gets kidnapped by two conspiracy theorists who believe she’s an alien. Jesse Plemons and Alicia Silverstone co-star.

“Marty Supreme” (A24, December 25)

Safdie’s sports dramedy stars Timothée Chalamet as a New York table tennis champion, inspired by Marty Reisman, who won major titles from 1946 to 2002, and did some of his own stunts. Saftie reunites with “Uncut Gems” cinematographer Darius Khondji, who shoots on 35mm.

“Die, My Love” (TBD 2025)

Lynne Ramsay’s horror black comedy (adapted from the novel by Ariana Harwicz), which premieres at Cannes, stars Jennifer Lawrence as a new mother in the French countryside struggling with post-partum depression, who becomes psychotic. Shot by Seamus McGarvey (“Atonement”) on 35mm, the film co-stars Robert Pattinson.

“Jay Kelly” (Netflix, TBD 2025)

Noah Baumbach’s coming-of-age dramedy, set during a chaotic reunion, stars Adam Sandler, George Clooney, Laura Dern, Greta Gerwig, Billy Crudup, Grace Edwards, Stacy Keach, Riley Keough, Emily Mortimer, Patrick Wilson, Jim Broadbent, Eve Hewson, and Alba Rohrwacher. It’s shot by Linus Sandgren (“Saltburn”) on 35mm.

“The Smashing Machine” (A24, TBD 2025)

Safdie’s biopic about legendary MMA fighter Mark Kerr (portrayed by an unrecognizable Dwayne Johnson, who undergoes a physical transformation), was shot on 16mm by Maceo Bishop (“The Curse”). It co-stars Emily Blunt as Dawn Staples, Kerr’s then-wife.