Independent cinema thrived in 2025. And like usual, it’s often away from the spotlight. While studio films dominated screens and conversations, a wave of smaller releases found their audiences through festivals, word of mouth and limited releases.
You probably haven’t even heard of many of these films – and that’s the point.
This list isn’t ranked. There’s no “best” or “worst” here. These are the must-see indie movies of 2025.
‘How to Start a Cult in 5-Easy Steps’
“How to Start a Cult in 5-Easy Steps” moves very quickly into its central plotline. It isn’t complicated, and it doesn’t need to be.
Writer-director Wes Clark crafts a smart and calculated satirical thriller. What starts as a comedic joke of an idea turns into meaningful dialogue on deception and honesty.
Haulston Mann (Tomas) steals the show with each hilarious piece of dialogue that he delivers.
While not every idea fits perfectly, “How to Start a Cult in 5-Easy Steps” stays engaging from beginning to end. Blending satire and sincerity, this leaves a surprisingly lasting impression.
‘Extremely Unique Dynamic’
Chaotic editing and constant meta jokes immediately make “Extremely Unique Dynamic” a lot of fun. Scattered, impulsive and sometimes pretentious, the film hilariously spells out all of the challenges that come with making a movie.
Amid all the laughs, it also contains sharp commentary about the entertainment industry.
Harrison Xu and Ivan Leung shine as director-writer-producer-stars of their self-proclaimed “(likely) first-ever and (possibly) award-winning Meta-Asian-Stoner-Coming-of-Age-Bromantic-Dramedy.” The passion of everyone involved is ultimately what makes the film work.
‘Man Finds Tape’
Utilizing surveillance clips, interview segments and phone calls, “Man Finds Tape” crafts its own unique identity. The mockumentary style allows the horror to truly feel real rather than fabricated.
The film ties its central mystery to the world of the unknown – which will likely allow it to connect with genre fans.
While the setup is more interesting than the answers given, “Man Finds Tape” remains an ambitious entry in the horror space. It’s unsettling, conspiracy-riddled and bold in its execution.
‘It Feeds’
“It Feeds” opens with a jolt of intensity and rarely lets up. It takes several unexpected turns, consistently finding ways to subvert expectations.
On top of this, the film also features a dual-genre approach – balancing supernatural horror with a slasher-inspired killer-on-the-loose thread. These parallel storylines are blended effectively throughout the 101-minute runtime.
Bringing an almost “Inception” like structure to horror, “It Feeds” fully commits to its concept. A talented cast and unique ideas make this an indie standout.
‘Gazer’
After planting many seeds over its first hour, “Gazer” eventually grows into an array of twisted scenarios that keep you guessing.
The film has a unique style – shot on 16mm film for a neo-noir, old-school feel. This aesthetic adds to the film in more ways than one, also accenting the central character’s journey.
Ariella Mastroianni (Frankie) carries the film. She succeeds in every aspect – dialogue, mannerisms and narration.
“Gazer” succeeds more in its cinematography than the story as a whole. However, it has enough surprising reveals and twists that culminate into a true ride of paranoia.
‘Disfluency’
Exploring the aftermath of sexual assault, “Disfluency” effectively depicts PTSD and recovery. Using jarring cuts and fractured imagery, the film puts the audience directly in the central character’s headspace.
Libe Barer (Jane) delivers an affecting performance. And the movie itself does an excellent job of not making the pain core to Jane’s identity, rather emphasizing her humanity, warmth and resilience.
Utilizing silence to its advantage, “Disfluency” earns monumental moments when emotions do surface.
An intimate and personal experience, “Disfluency” proves to be a powerful and empowering character study that continues to resonate.
‘Marshmallow’
“Marshmallow” relies on many young actors to carry the load – and they all deliver. Kue Lawrence (Morgan), Kai Marie Cech (Pilar) and Max Malas (Dirk) lead the way.
After starting as a classic summer camp slasher, the film shifts into something drastically different. With an eerie atmosphere established over the first hour, “Marshmallow” begins to put its own spin on things with a riveting conclusion.
Only two words are needed to sum up “Marshmallow”: hidden gem. It takes a seemingly familiar story and pushes it in bold and unique directions.
‘Trigger Happy’
The world of “Trigger Happy” feels intentional and fully formed. While the outlandish nature of this over-the-top environment could come across as artificial, the film manages to drop the audience inside of a different reality with ease.
Establishing multiple sources of tension, it explores the theme of desperation through the lenses of relationships and capitalism as a whole.
With a title like “Trigger Happy,” things inevitably turn bloody. Still, the darker moments are balanced with humor to create a playful edge.
“Trigger Happy” never pretends to be anything other than what it is. Because of this, Tiffany Kim Stevens largely succeeds in her feature-length directorial debut.
‘Scared Shitless’
With a 77-minute runtime, “Scared Shitless” wastes no time before moving into the pipes. From the opening scene, it establishes the quirky performances, zany visuals and retro score that are present for the remainder of the movie.
Steven Ogg (Don) and Daniel Doheny (Sonny) add a believable father-son dynamic with electric chemistry. The pair continuously goes back-and-forth for effortless comedy and banter.
The film is able to switch between humor and horror. One second, a character is yelling “Meatloaf,” and the next, a monster is going on a gore-filled rampage.
“Scared Shitless” is a classic monster flick that indie horror fans will be sure to enjoy. It may not reinvent the creature feature, but it does squeeze every last drop of fun out of the formula.
‘Creep Box’
“Creep Box” leaves its central character in ambiguity, generating sympathy for him while also prompting questions. It’s this approach that creates a complex viewing experience.
While many films struggle to live up to their intriguing premise, “Creep Box” continuously builds upon it. Through both visuals and dialogue, it explores the many unsettling directions that the basic idea can go in.
Rather than focusing on an AI uprising or a rogue machine, the film examines mortality and consciousness.
“Creep Box” challenges audiences with questions about ethical responsibility, afterlife and unresolved grief. Leaving many of its threads open to interpretation, the movie is quietly profound.
‘Hazard’
From the opening moments, “Hazard” establishes the cyclical, destructive nature of addiction. The tone and messaging feel authentic throughout, presenting affected individuals as both victims and perpetrators.
Alex Roe (Will) and Sosie Bacon (Sara) both showcase their ranges within such a difficult, emotionally taxing story.
It’s also strikingly shot. Dialogue often takes a back seat to the imagery, allowing the visuals to communicate the effects of addiction on an individual and community-wide scale.
“Hazard” never claims to offer solutions – depicting addiction honestly while confronting the full weight of its consequences. Its emotional core will be relatable for many, asking for compassion, love and understanding from the audience.
‘Rounding’
“Rounding” digs into the quieter horrors within the medical field. Particularly, how a profession can slowly consume those who may not be equipped to endure it.
Despite a few overt horror moments feeling out of place, the film is at its strongest when focusing on trauma and fixation. Providing the audience with more questions than answers, there is a persistent sense of mystery.
Anchored by the performance from Namir Smallwood (James), “Rounding” succeeds more often than not. When its narrative threads finally converge, the film leaves behind a lingering impression.
‘Sew Torn’
With three alternate paths emerging from a single moment, “Sew Torn” centers on decisions. More specifically – “choices, choices, choices.”
The narrative style is part of what makes the film so compelling. It uses creative transitions, exaggerated scenarios and excellent practical effects to build momentum.
The movie doesn’t hold back on weaving sewing into the plot, both as a comedic tool and serious thematic thread. Because of this, it’s packed full of fresh, original ideas.
“Sew Torn” earns high marks for creativity. While the last chapter doesn’t completely stick the landing, the overall metaphor still holds strong.
‘The Severed Sun’
“The Severed Sun” ignores context clues and precursors. Instead, it immerses the audience in the world and runs with it – allowing viewers to connect the dots in the process.
Handheld shooting techniques give the film a nostalgic feel, with muted color grading and constant close-ups. This adds to the feelings of paranoia or claustrophobia, regardless of the characters’ locations.
Isolation and religious control are other topics touched upon, alongside scares from the “beast.”
At only 80 minutes long, “The Severed Sun” wastes no time. With plenty of twisted ideas, it is similar to many horror movies from the past while adding its own unique flair.
‘Restless’
Succeeding primarily due to its sound design, “Restless” integrates loud, bass-heavy music into its identity. The noise becomes a character of its own, using the chaos of sound to perfection.
Lyndsey Marshal (Nicky) excels in the lead role. In such an outlandishly horrendous scenario, she makes the character’s descent into madness feel real.
Shifting genres in its conclusion, the ending may frustrate many. But one thing is certain – it’s bold.
“Restless” is relentless. The impressive sound design, visuals and lead performances keep the film constantly compelling.
