Film is so back. Shooting on Kodak Film continues to be both a more popular choice among filmmakers and gather more Oscar -Priestige. At this year’s Academy Awards Sean Baker’s best picture winner, “Anora,” Managed at 35 mm by Kinematographer Drew Daniels; Brady Corbet’s best Film art winner, “Brutalist,” Managed at 35 mm Vistavision to Great Aplomb by DP LOL Crawley; Walter Salle’s best international film winner, “I’m still here”, is managed at both 35mm and S8mm by kinematographer Adrian Teijido; And the best live action short winner, “I’m not a robot”, is also managed at 35 mm.
2025 looks to build on that success. There will be a cohort of prominent films caught on film from some of the usual analog loving directors: Ryan Coogler’s “Sinner,” Luca Guadagninos “After the Hunt”, Wes Andnsons “The favorable schedule“Yorgos Lanthimos” Bugonia “, Josh Safdies” Marty Supreme “, Benny Safdie’s “The crushing machine,” and Paul Thomas Anderson’s “one battle after another.”
But there are also surprises: Gareth Edwards comprises 35 mm for the first time at “Jurassic World Rebirth”, shot by John Mathieson (“Gladiator II”) and James Sweeney’s acclaimed black comedy, “Twinless” (Sundance Audience Award winner), is managed at 35 mm by Kinematographer Greg Cotten.
Here is a summary of 2025 films being shot on film, with updates coming.
2025 release date
“The Last Showgirl” (road attractions, January 10)
Gia Coppola’s 2024 gripping drama about a Glam Las Vegas Showgirl (Pamela Anderson) was confronted by a gloomy future is shot at 16 mm by cinematographer with lots of cereals. Coppola received the author award at the Kodak award in 2025.
“I’m still here” (Sony Pictures Classics, February 7 Limited, February 14 Expanded)
The Oscar-winning Brazilian Biopiken About Lawyer and Activist Eunice Paiva (Fernanda Torres) who confronted her country’s dark heritage from dictatorship, was released commercially last month. Kinematographer Adrian Teijido (“Sergio”) gives a tactile, grainy appearance that produces the political turbulence in the 70s.
“The Electric State” (Netflix, March 14)
The large budget-by-Fi comedy drama from Russo Brothers (Anthony and Joe) offers an alternative retro-futuristic version of the 90s about the struggle for robotic rights, with Millie Bobby Brown, Chris Pratt and a large ensemble of cartoon robots. 35mm/hybrid, shot by Kinematographer Stephen F. Windon (“The Fast and the Furious” franchise), evokes a sad wilderness surrounded by the beauty of American West.
“The Friend” (Bleecker Street, March 28)
New York Dramedy from directors David Siegel and Scott McGehee (based on the best seller of Sigrid Nunez) revolve around a teacher (Bill Murray), his best friend (Naomi Watts) and his great Danish which she adopts after his departure. It is pushed at 35 mm with a warm glow of the kinematographer Gile’s nut (“hell or high water”).
“Sins” (Warner Bros., April 18)
The vampire film, which is located in the 30s Jim Crow-era South, finds Michael B. Jordan in the double role as twins smoke and stack, who returns to his hometown and experiences an even greater fear than before. The director describes it as “genre-fluid”, which flows in and out of the supernatural and the spiritual, defined by the religious joy of the light and the subversive blues of darkness. It is managed by Kinematographer Dagald Arkapaw (“Black Panther: Wakanda Forever”) of 35 mm and 65 mm (with both IMAX and Ultra Panavision cameras).
“Hurry up tomorrow” (Lionsgate, May 16)
Trey Edward Shults’ Psychological Thriller marks the acting debut by Toronto Superstar The Weeknd (Abel Tesfaye), which plays a fictional version of himself plagued by insomnia, which releases a mysterious stranger (Jenna Ortega) that draws him to an existential udysey. Barry Keoghan tags for support. Kinematographer Chayse Irvin (“Blackkklansman”) shot at 35 mm, 16mm and S8 for tripy effect.
“Tornado” (IFC Films, May 23)
John Macklean’s Samurai-affected survival thriller finds a young Japanese woman (Kôki), who gets stuck in criminals under the leadership of Tim Roth in 18th century Britain. Shot of 35 mm of Kinematographer 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 a espionage thriller (together with Michael Cera, Tom Hanks, Bryan Cranston, Riz Ahmed, Jeffrey Wright, Scarlett Johansson, Rupert Cumberg and Benedict and Benedict. This marks Anderson’s first collaboration with Bruno Delbonnel (“Amélie”), who shot at 35 mm.
“Materialists” (A24, June 13)
Celine Song’s Romcom follow-up to “Past Lives” stars Dakota Johnson as an expensive New York matchmaker. Chris Evans and Pedro Pascal are united by Zoë Winters, Marin Ireland, Dasha Nekrasova and Louisa Jacobson. This was taken at 35 mm by Kinematographer Shabier Kirchner (“Past Lives”).
“Jurassic World Rebirth” (Universal, July 2)
Gareth Edwards (“Creator”) directs the seventh part, with a new role of characters and an analog visual appearance, with the state of DP Mathieson. Scarlett Johansson plays a secret operational employee of a pharmaceutical company to collaborate with paleontologist Jonathan Bailey and team leader Mahershala Ali to infiltrate the location of the original research facility for Jurassic Park and collect DNA from prehistoric creatures to create a revolutionary drug to save humanity.
“A battle after the other” (Warner Bros., August 8)
Paul Thomas Anderson adapts loose Thomas Pynchon’s “Vineland” (collapse of the counter culture with re -election of Reagan) as an almost three hour hunting film, with Leonardo DiCaprio and Regina Hall, which was persecuted by Sean Penn’s white supremac. Shot by Kinematographer Michael Bauman (“licorice pizza”) at 35mm (Vistavision cameras has been discovered but officially unconfirmed), this will be the first Anderson movie on the way to IMAX screens.
“Roofman” (Paramount, October 3)
Derek Cianfrance’s TRUE-Crime Story, shot by cinematographer Andriji Parekh (“The Zookeeeper’s Wife”) at 35 mm, find Channing Tatum as a struggling father and a previous army branch, which rob McDonald’s restaurants by cutting holes in their roof. Co -stars Kirsten Dunst and Peter Dinklage.
“After the hunt” (Amazon MGM, October 10 Limited, October 17 was expanded)
Guadagnino tackles a psychological drama that is not about sex or love, shot by kinematographer Malik Sayeed (“Clockers”) at 35 mm. Julia Robert’s college professor has a dark secret that threatens to emerge when one of her students (Ayo Edebiri) levels serious accusations against colleague Andrew Garfield.
“Bugonia” (focus functions, November 7)
Lanthimo’s pivots for sci-fi comedy with this English-language remake of “Save the green planet” from Jang Joon-Hwan, shot at 35 mm by go-to cinematographer Ryan (“Poor Things”, “Favorite”). In a sex swap, Emma Stone plays a high -driven CEO of a large pharmaceutical company who is kidnapped by two conspiracy theorists who believe she is a stranger. Jesse Plemons and Alicia Silverstone Co-Star.
“Marty Supreme” (A24, December 25)
Safdie’s Sports Dramedy stars Timothée Chalamet as a New York tennis champion, inspired by Marty Reisman, who won big titles from 1946 to 2002, and did some of their own stunts. Saftie is reunited with “uncut gemstones” film photographer Darius Khondji, who shoots at 35 mm.
“Die, My Love” (TBD 2025)
Lynne Ramsay’s horror-black comedy (adapted from the novel by Ariana Harwicz), which premieres on Cannes, Jennifer Lawrence plays as a new mother in the French countryside who struggles with depression after-partum, which becomes psychotic. Shots of Seamus McGarvey (“Atonement”) at 35mm, the movie co -stars Robert Pattinson.
“Jay Kelly” (Netflix, TBD 2025)
Noah Baumbach’s drama that comes in age, which was put under a chaotic reunion, Stars Adam Sandler, George Clooney, Laura Dern, Greta Gerwig, Billy Crudup, Grace Edwards, Stacy Keach, Riley Keough, Emily Mortimer, Patrick Wilson Rohrwacher. It is pushed by Linus Sandgren (“Saltburn”) at 35 mm.
“The Smashing Machine” (A24, TBD 2025)
Safdie’s biopik on the legendary MMA fighter Mark Kerr (depicted by an unrecognizable Dwayne Johnson, who undergoes a physical transformation), is shot at 16 mm by Maceo Bishop (“The Curse”). The co -stars Emily Blunt that Dawn Staples, Kerr’s then wife.
