Movies that can be seen on December 24

On December 24, 2025, the billboard arrives loaded with auteur films with Father Mother Sister Brother by Jim Jarmusch, Argentina The Silver Mandocumentaries Eloy de la Iglesia, film addict y Santiago Sierra. The finger on the sorethe terror of Keeper and the Korean proposal in Filmin in the stream by Hong Sang-soo, ideal to close the year with stories of different intensity.

Father Mother Sister Brother (Jim Jarmusch, 2025)

With an uneven career, Jarmusch is more in tune with the audience when – as is the case here – he opts for bare and minimal stories, as happens with pieces full of charm and life such as “Flores rotos” or “Paterson”. Three independent stories, although with the same theme of the relationship between children and parents, which take place in the United States, Dublin and Paris, serve respectively to show the encounter of a daughter and her brother with an elderly father, of two sisters with their mother who invites them to a snack, and of a young woman and her twin brother who evoke the lives of their parents. Everything seems everyday and casual, full of silences, with no conflict to resolve, with contained emotions… but the viewer is interested in these middle-aged guys and the relationship they have with their elderly or deceased parents. There is neither optimism nor harsh judgment about these relationships; rather, a certain uneasiness. Valiosa (fair Golden Lion of Venice).

The Silver Man (Mariano Cohn & Gastón Duprat, 2025)

Fans of Guillermo Francella, protagonist of the series “The Manager”, have here an interpretive recital where the Buenos Aires actor embodies types and situations that would come to make up a certain idiosyncrasy of what is Argentine. There are 16 very varied short films, some mere sketches or very brief notes, others complete pieces, with the difficulty of a brief format that always has to have a twist. The directors are the most brilliant and fruitful artistic couple in Spanish cinema and, probably, one of the best in world cinema. I especially liked the last two, more elaborate shorts: the one by the film director offers a very pertinent critique. To enjoy it, you don't have to ask much of this film, which, basically, is a little entertainment.

Eloy de la Iglesia, film addict (Gaizka Urresti, 2025)

He is the most representative director of the transition with his provocative and popular “cine quinqui” films and his denunciation of the hypocrisy of the institutions (the party, the State, the Church) that did not admit homosexuality. We young people of that time despised it because it seemed like sensationalist cinema, somewhat Manichean, lacking in finesse, although we recognized the box office success. As time has passed, Eloy de la Iglesia has been vindicated and honored: this documentary reviews his life and his cinema with rigor, drawing a fairly complete profile. I don't know if the films have aged or, on the contrary, are eloquent as a testimony of an era: we will have to review them.

Santiago Sierra. The finger on the sore (Enrique Palacio, 2025)

It is worthwhile a work aimed at making known one of the most critical and political Spanish artists, as well as provocative with works of denunciation and a radical, anti-system career, which led him to reject the National Prize for Plastic Arts in 2010. The documentary brings together significant works from Sierra's extensive international career, most of them are “performances” with a political purpose, such as giving tattoos to people (paid), dyeing a national flag with the blood of the excluded or filling a synagogue in Germany with car gases. Scholars and artists explain the figure of Sierra, who does not appear in the entire film, probably due to consistency with her work.

Keeper (Osgood Perkins, 2025)

Since they spoke well of the latest film by Osgood Perkins – son of the actor who played the protagonist of “Psycho”, one of the most horrible characters in cinema – I have been encouraged by this title, knowing that horror films do not scare me but bore me. And, indeed, that has been the case, since the entire mechanism of generating fear based on strange signs, visions and “ad hoc” music is cliché and more than known. Refrain, except for viewers who want to be scared and can't get enough of the news.

in the stream (Hong of the Soo, 2024) (Filmin)

Sang-soo can shoot—and write, do photography, and compose music—two and even three films a year. Of course they are handmade pieces, with few characters, natural light and dialogues rich in digressions, as if improvised. It could be said that this Korean filmmaker makes films as he breathes and only tries to capture fragments of the most everyday reality; It is not easy to convert those dialogues linked by a more or less conventional plot but, above all, capable of outlining something of the human soul. Next to nothing. They are not easy or solemn films; to see it with desire.