In this year’s installment of Slate’s Movie Club, film critic Dana Stevens engages in a spirited discourse with fellow critics Justin Chang, Alison Willmore, and Bilge Ebiri, reflecting on the cinematic landscape of 2025. The conversation reveals diverse perspectives on the evolution of film and the emerging trends that shape contemporary storytelling.
Stevens sets the tone for their discussions by describing Movie Club as a refuge from the pressures of reviewing films with preconceived notions. She shares her ritual of mentally resetting before each screening, allowing herself to fully immerse in the experience, unclouded by expectations or prior knowledge. This year, however, Stevens wrestles with her aversion to the increasingly popular cinematic style, which she refers to as the “Safdie school.” This approach emphasizes a relentless intensity and chaotic storytelling, often drawing audiences into the harrowing experiences of self-destructive characters.
Films like “Marty Supreme” and “If I Had Legs I’d Kick You” exemplify this style while showcasing individual performances by actors such as Timothée Chalamet and Rose Byrne. While both films have garnered praise—especially for the comedic tension derived from the characters’ poor choices—Stevens expresses her dissatisfaction with the lack of depth in their characterizations. She asserts that while she appreciates the talent displayed, the films fail to resonate on a profound level, often leaving her feeling drained rather than contemplative.
The critics explore the anxiety-inducing nature of these films, highlighting how they foster a sense of connection among viewers as they partake in the characters’ struggles. Stevens acknowledges that while this stylistic choice has garnered a devoted following, it also risks being overly exhausting and limiting in its portrayal of the human experience.
As the discussion evolves, Stevens invites her colleagues to shed light on more uplifting tendencies in the cinematic landscape of 2025. Her narrative, filled with both critique and reflection, presents a compelling examination of the complexities inherent in modern filmmaking. Alluding to the balance between depicting chaos and maintaining narrative substance, she ultimately encourages a broader exploration of storytelling possibilities that resonate with audiences on a deeper emotional level.
This engaging conversation serves as a reminder of the importance of diverse perspectives in cinema, provoking thought about the evolution of storytelling and its impact on viewers, while also holding a space for optimism and growth in the craft.