The 2025 Austin Film Festival and Writers Conference wrapped up in the last week of October, and with it came the final early screenings of some of the most anticipated films for entertainment, education, and award season at the end of the year. While the mornings to early afternoons were dominated by panels and screenplay competitions, avid film watchers including myself flooded the lines at the Paramount and State Theaters to catch a glimpse of these upcoming films. Listed below are the five biggest films screened this year, along with my own reviews, personal anecdotes from the showings, and predictions about where these films will land in the broader cinematic conversation this winter.
Christy
The festival's opening night sold-out screening, a twist of irony in hindsight as record low box office numbers come in, was the Sydney Sweeney starring boxing biopic Christy. Christy is paraded as a boxing biopic to audiences that do not know her story, falling into the same category as many other sports biopics. It serves as a pedestal for an A-list actor to strut their talent in a role, perhaps leading to the film falling incredibly short on its full release, revenue-wise. However, what the audience in Austin loved the most was the story alongside the boxing journey, which in a sense is what this film was truly about. It is clear that Christy Martin, who was in attendance for this screening and spoke after, worked side by side with the director and Sydney Sweeney to tell a highly emotional story about the awful things she was put through and how it turned her into the woman she was in the ring and outside of it.
As a viewer, it is important to feel these crucial moments deeply, as many true stories lack the intimate details that Christy succeeds in delivering. The film is clearly one of the better biopics of the last few years when it comes to the pure emotion built up. While it may lack intrigue and storytelling in the middle acts, it is receiving far too much criticism due to monetary failures. While this film may slip through the cracks after its widespread release, it certainly did not slip as it delivered in its premiere in Austin.
Wake Up Dead man
The new Knives Out mystery was the second sold-out night screening at the Austin Film Festival. Including a Q&A with Rian Johnson after the film, the showing focused primarily on his connection to religion and faith, describing how he created the characters to reflect his evolved views. The film is a clear and true return to form in the most unique way for the Knives Out franchise, helping to officially define what this series is truly about, which is the gathering of great talent to entertain through a thrilling "whodunit" while simultaneously commenting on a deeper cinematic topic.
This third installment is the least ensemble-focused of the films, as Johnson really focuses on Josh O’Connor, who is truly fantastic, and the returning Daniel Craig, as they present the two sides of the belief and disbelief coin of the mystery. The changes made from the previous films, along with a commitment to provide great and effective humor throughout, truly make for a spectacular theater experience and a confirmation that this film is a must-watch when it releases later this year.
Hamnet
Hamnet, a likely award-season favorite with an outstanding performance from Jessie Buckley, provided one of the most mixed-review theaters I have ever been a part of on night three of the fest.
The theater the film was shown in sat 300 people, as opposed to the 1,200 seats on the nights prior, providing a feeling of gratefulness as I made it in as the 200th audience member. Once in the theater, audience members commented on the Shakespearean dialogue without subtitles being hard to grasp, while another was heard snoring during the showing. On the complete flip side, there were audience members audibly sobbing in the final moments, as the film received a standing ovation matched by no other at the festival.
Hamnet, as a whole, represents both sides of the audience's reaction. The film is quite slow in progression and dialogue in the first act, relying heavily on the cinematography surrounding Mescal and Buckley. However, as the film builds intimately, the final act leaves the lasting impression that will be carried into award season. The act is truly spectacular, perhaps the best of the year, paying off every intimate moment with striking dialogue and emotion, while the performances remain stunning. Overall, there are clear mixed reactions to this film and clear audiences for whom it will not perform well. However, Hamnet is a must-watch film, as it provides a clinic in emotion and cinematography through performance.
Train Dreams
Train Dreams, a simple story told wonderfully, based on a simple novella about a simple man, was not only the highlight of the fourth night of the festival, but was the clear standout film from the whole event. In a week of fine lines being walked between tedious and brilliant for so many films, Clint Bentley walks it perfectly.
Train Dreams takes us through the story of a man who came into this world alone and leaves it alone, a film that shows the importance of every human life despite not leaving anything behind. Its beauty does not outweigh its story, and Joel Edgerton's masterful performance does not outweigh the other spectacular secondary performances. The film stands out not for a single component, but instead for its perfected simplicity. While the film did not see the crowd of the other four, or the lines five blocks away, it was the one film that wowed every viewer. This is a film meant to be seen in theaters before its release to Netflix, and one that, like its narrative, is so beautiful yet may be lost in time.
Eternity
Eternity was the last screening of the festival weekend and once again filled every single seat. This Elizabeth Olsen starring A24 release is a fun, unique rom-com, shot well and played out properly, with a ton of comedic moments that capitalize on the great premise. Its strengths are clearly in this premise, as it is truly at its best when it makes fun of its own concepts and ideas.
Where the film loses its audience is in its predictability and lack of nuance when reaching the final sequences of the story. After listening to the Q&A with Elizabeth Olsen after the film, it is clear that this is a passion project for her, as she became a co-producer early in the film's production. The rom-com is more than serviceable but less than outstanding, which makes for a great large-audience viewing experience, but perhaps a much less great at-home watch. The only major moment of the film that falls short is its attempt to tell the viewer Miles Teller is not a great-looking man, which heavily did not land for most of the audience around me.
The 2025 Austin Film Festival once again proved why it remains one of the most exciting places to experience cinema before it enters the larger cultural conversation, while also being a hub for independent writing success. Each of the five films showcased and reviewed — Christy, Wake Up Dead Man, Hamnet, Train Dreams, and Eternity — offered something distinct, whether it was emotional honesty, sharp entertainment, award-season ambition, or quiet excellence.
What truly defined this year’s festival was the range of audience reactions and the reminder that a theater full of strangers can experience one film in countless different ways. From sold-out premieres to intimate late-night screenings, these early showings gave a glimpse into how each project might be received when it reaches the wider world. As we head into winter and awards discussions begin to crystallize, the films from Austin’s final week stand as a testament to the power of early festival buzz and to the thrill of discovering something remarkable before everyone else starts talking about it.
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