Four Films That Stayed with Me This Month (May 2025)

One of the motivations behind this blog is to reflect not only on upcoming releases and film festivals, but also on the films I have the opportunity to watch in German cinemas. This month offered a varied selection of titles: historical dramas, coming-of-age stories, political thrillers and feel-good cinema. Some arrived with major festival recognition, others through strong word of mouth, but all of them left me with something to think about after leaving the cinema.

Sandra Hüller continues to prove why she is one of the most remarkable European actresses working today. Earlier this year, she won the Berlinale award for Best Leading Performance for her portrayal of a soldier living disguised as a man during the aftermath of the Thirty Years’ War.

What impressed me most about Rose is the restraint of Hüller’s performance. There are no grand speeches designed to manipulate the audience emotionally, nor dramatic outbursts seeking easy reactions. Instead, she communicates through small gestures, silences and subtle expressions that gradually reveal the weight carried by her character. Through her experience, the film explores the consequences of war, the limitations imposed on women and the difficulty of building an independent life within a deeply patriarchal society.

The film is not solely dependent on Hüller, Caro Braun delivers a performance that adds another layer to the story, and the interactions between both actresses become some of the strongest moments in the film. Schleinzer trusts the power of his images, allowing landscapes, bodies and glances to communicate more than dialogue often could. The result is a film that feels patient, haunting and emotionally precise.

When I first watched the trailer for Wild Foxes, I assumed it would follow a familiar sports-drama formula: a young boxer pushes himself too far, suffers the consequences and learns a predictable lesson. Fortunately, the film turned out to be far more interesting.

After an accident, the protagonist develops a psychological trauma that begins affecting not only his athletic performance but also his relationships and sense of identity. What follows is not simply a sports story but a reflection on vulnerability within a highly masculine environment. Rather than focusing on physical strength, the film becomes interested in fear, friendship and emotional fragility.

The greatest strength of Wild Foxes lies in its young cast. Through small changes in body language, looks and gestures, they manage to communicate emotions that feel genuine and relatable. While some secondary storylines are not developed as fully as they could have been, the film surprised me in ways I did not expect and became one of the most pleasant discoveries of my month at the cinema.

I approached Eagles of the Republic with high expectations, particularly because Boy from Heaven, the previous instalment in Tarik Saleh's Cairo Trilogy, was such a well-structured drama enriched by political intrigue. Although I ultimately found this latest chapter less compelling, it remains an engaging and intelligent political thriller.

The film follows a popular actor pressured by an authoritarian government to publicly support the regime. Through this premise, the actor explores the relationship between political power, celebrity culture and propaganda. Unlike the darker atmosphere of his previous films, Eagles of the Republic introduces more humour and self-awareness, particularly through its setting within the film industry itself. Some of the sharpest moments come from the satirical portrayal of those in positions of power.

My main reservation concerns the screenplay. Several secondary characters feel underdeveloped and exist more as narrative functions than fully realized individuals. I also missed the stronger sense of Egyptian society and culture present in Saleh’s earlier work. While the political themes remain engaging, this story could have unfolded in almost any authoritarian state. Nevertheless, the film succeeds as a tense and often entertaining political thriller.

Sometimes a film does not need to reinvent cinema to be effective. I Swear reminded me of the value of a well-executed crowd-pleaser that approaches its subject with sincerity.

The story follows a man living with Tourette syndrome at a time when public understanding of the condition was even more limited than it is today. Rather than focusing exclusively on suffering, the film examines the misunderstandings, prejudices and everyday challenges faced by someone trying to navigate a society that often lacks empathy.

What I appreciated most was the film’s refusal to turn its protagonist into an object of pity. Instead, it encourages viewers to better understand the condition while recognizing the dignity and individuality of those who live with it. The narrative follows a fairly traditional structure, but its warmth and optimism prevent it from becoming sentimental or manipulative.

It is easy to understand why the film connected so strongly with audiences and why Robert Aramayo received so much recognition for his performance at the BAFTAs this year. While it may not be the most formally ambitious film of the year, it succeeds in what it sets out to do: tell a human story with honesty and compassion.