American Film Institute Selects ‘Avatar: Fire and Ash’ Among Top 10 Films of 2025

The American Film Institute recognizes cinematic achievements that shape cultural discourse, selecting 10 films for their exceptional artistry and resonance. ‘Avatar: Fire and Ash’ leads the list, extending James Cameron’s Pandora saga with unprecedented visual scale and environmental allegory. This inclusion underscores Hollywood’s embrace of spectacle-driven narratives amid industry consolidation. Other honorees span genres, from horror revivals to musical sequels, reflecting a year of bold reinvention.

AFI’s jury, comprising film scholars, artists, and critics, evaluated over 200 eligible releases from major studios and independents. The selections prioritize works that advance form and content, excluding documentaries and foreign-language entries. ‘Avatar: Fire and Ash’, directed by Cameron, grossed $1.2 billion globally in its opening weekend, surpassing predecessors through 4K IMAX enhancements and Na’vi motion-capture refinements. Its narrative delves into interstellar conflict, introducing fire-wielding antagonists that challenge the Sully clan’s aquatic alliances.

‘Bugonia’, Bong Joon-ho’s English-language follow-up to ‘Parasite’, secures a spot for its satirical sci-fi premise, where abductors mistake a CEO for an alien. Starring Jessica Chastain and John Cusack, the film premiered at Cannes, earning a 92 percent Rotten Tomatoes score for its genre-blending wit. Bong’s script, adapted from the 2003 French comedy ‘Save the Green Planet!’, incorporates climate motifs via bio-engineered insects, shot over 85 days in Atlanta studios. The production budget reached $150 million, with 40 percent allocated to practical effects.

‘Frankenstein’, Guillermo del Toro’s long-gestating adaptation, claims recognition for its gothic fidelity to Mary Shelley’s novel. Oscar Isaac portrays the tormented Victor, while Jacob Elordi embodies the creature in a 140-minute runtime blending practical prosthetics and CGI scarification. Filmed in Budapest’s Origo Studios across 120 days, the project faced delays from 2023 strikes but debuted at Venice, netting $450 million worldwide. Del Toro’s vision emphasizes ethical quandaries in bioengineering, echoing contemporary AI debates.

‘Hamnet’, a biographical drama on Shakespeare’s family loss, highlights period authenticity with Anya Taylor-Joy as Anne Hathaway. Directed by Chloë Zhao, the 105-minute film reconstructs 16th-century Stratford-upon-Avon using hand-built sets and archival textiles. Zhao’s cinematography employs natural light filters to evoke Elizabethan melancholy, contributing to its $78 million box office. The adaptation draws from Maggie O’Farrell’s novel, focusing on the playwright’s son Hamnet’s plague death as catalyst for ‘King Lear’.

‘Jay Kelly’, a queer coming-of-age tale, marks Barry Jenkins’ return post-‘Moonlight’ with a $25 million indie budget. Starring rising talent Zión Moreno as the titular trans teen navigating Miami foster care, the film spans 98 minutes and premiered at Sundance. Jenkins utilizes Steadicam sequences for intimate tracking shots, earning acclaim for dialogue rooted in AAVE linguistics. Its inclusion signals AFI’s nod to diverse voices, grossing $42 million via A24’s limited release.

‘Marty Supreme’, Scorsese’s table tennis biopic starring Timothée Chalamet, captures 1950s immigrant ambition in a 135-minute epic. Filmed in black-and-white 35mm stock across New York locations, the $90 million production recreates championship rallies with wirework and archival footage integration. Chalamet’s portrayal of Marty Reisman draws from 200 hours of interviews, emphasizing Jewish-American resilience. The film amassed $320 million, bolstered by IMAX conversions.

‘One Battle After Another’, A24’s ensemble war drama, features Glen Powell leading a squad in Vietnam’s Ia Drang Valley. Directed by David Fincher, the 128-minute narrative employs multi-camera setups for combat verisimilitude, shot in Hawaiian jungles over 70 days. Budgeted at $110 million, it incorporates declassified tapes for sonic authenticity, yielding $610 million globally. Fincher’s precision editing, clocking 2,500 cuts, underscores tactical futility.

‘Sinners’, Ryan Coogler’s vampire Western, reimagines Reconstruction-era Louisiana with Michael B. Jordan dual-role casting. The $160 million film, spanning 142 minutes, blends practical blood effects with AR overlays, filmed in New Orleans’ bayous. Coogler’s script weaves folklore into historical reckonings, premiering at Toronto for a 95 percent approval rating. It generated $890 million, pioneering day-and-date streaming hybrids.

‘Train Dreams’, Edward Berger’s adaptation of Denis Johnson’s novella, stars Oscar Isaac as a Montana laborer confronting modernity’s upheavals. The 95-minute black-and-white feature, shot in 70mm across Alberta sites, adheres to a $40 million cap through natural lighting. Berger’s direction evokes silent-era pacing, with sound design limited to ambient fieldwork noises. Its $56 million earnings affirm arthouse viability.

‘Wicked: For Good’, Jon M. Chu’s musical sequel, concludes the ‘Wicked’ diptych with Cynthia Erivo and Ariana Grande reprising Elphaba and Glinda. The 155-minute spectacle, budgeted at $200 million, deploys 1,200 LED panels for Emerald City illusions, filmed at Sky Studios Elstree. Chu’s choreography expands Act Two arcs, amassing $1.1 billion. AFI’s TV list features ‘Adolescence’, ‘Andor’ Season 2, ‘Death by Lightning’, ‘The Diplomat’ Season 3, ‘The Lowdown’, ‘The Pitt’, ‘Pluribus’, ‘Severance’ Season 2, ‘The Studio’, and ‘Task’, honoring serialized innovation across platforms.