Movies that can be seen on October 24, 2025

Cinemas are filled this October 24, 2025 with a varied billboard that promises intense emotions and very different views on the human condition. From the social and moving realism of The debt from Daniel Guzmán to the committed cinema of a simple accident by the Iranian Jafar Panahi, passing through the historical comedy Dinner by Manuel Gómez Pereira or the police tragicomedy A loose end by Daniel Hendler. The offer is completed with the solid espionage drama A ghost in battle by Agustín Díaz Yanes and the dark reinterpretation of the classic story The ugly stepsister the Emilie Blichfeldt.

The debt (Daniel Guzmán, 2025)

The third feature film, written and directed, by actor Daniel Guzmán deserves applause for many reasons, despite its imperfections and minor work nature. Lucas's story is that of a kind, very human criminal, a guy who has been mistreated by life, but whose moral values ​​and sense of solidarity are always there. The film uses a criminal intrigue to show conflicts and relationships between people of enormous human stature, as well as to denounce the abandonment of the elderly and evictions. The viewer will adore the grandmother, the nurse and the other characters. I quite liked it, although it is not round.

a simple accident (Jafar Panahi, 2025)

Panahi has suffered harassment from the Iranian theocracy, which has banned him from filming and imprisoned him. His energy and ingenuity leads him to film in his own home – the magnificent “This is not a movie” (2011) – or to put the camera on the dashboard of a taxi driven by himself (“Taxi Teherán”, 2015). Now he receives the Palme d'Or at Cannes with a denunciation of the torture and moral destruction that the regime's violence causes in its opponents. The starting point—the doubts of a victim who believes he recognizes the police officer who tortured him—is similar to that of the play and film “Death and the Maiden” (Dorfman/Polanski) and raises not only to what extent justice/revenge is possible; It goes further to confirm that this violence has no restoration or healing, since its wounds destroy anyone's humanity. Good committed and universal cinema.

Dinner (Manuel Gómez Pereira, 2025)

The once prolific Gómez Pereira – with several hits in his beginnings in the 90s – relies on an excellent cast of actors and the theatrical text of Alonso de Santos to develop, with skill, a very enjoyable comedy, more successful than brilliant. In the postwar period, the maître of the Palace Hotel (very notable Alberto San Juan) is forced by order of a Falangist provost to organize a dinner for Franco and his generals; he gets the cooks released from jail, who, obviously, take advantage of the opportunity. You have a good time.

A loose end (Daniel Hendler, 2025)

This comedy that takes you aimlessly alongside the protagonist, a police corporal who is fleeing from his colleagues, persecuted for being an uncomfortable witness, is very stimulating, as it is novel. The tragic undertone is never pronounced; and the precarious escape with so many comings and goings (which the montage highlights with its time jumps) amuses us as much as it disturbs us, since the viewer goes from surprise to surprise without knowing where this “loose end” may end up, which at times is clumsy, but, if necessary, reveals himself as an expert cheesemaker. Advisable.

A ghost in battle (Agustín Díaz Yanes, 2025) (Cinemas/Netflix)

The specific topic of the infiltrated agent in ETA has been addressed in the film by Arantxa Echevarría, released a year ago, and the series “The Border.” With his unquestionable craft, Diaz Yanes, returns to the subject and puts together a solid story about the tension, psychological wear and moral doubts of an agent infiltrated in the terrorist gang, who has nothing to spare or lack. It is seen without blinking, very well served by the excellent Susana Abaitua, with an impeccable cast and a very convincing production design.

The ugly stepsister (Emilie Blichfeldt, 2024)

This version between “gore” and neo-romantic of the Cinderella story seemed as pretentious as it was expendable, with a girl who has to have all kinds of “touch-ups” and even mutilations to appear more beautiful and seduce the prince. Set in the 19th century, it is not known what the director and screenwriter meant, apart from a recurring and hardly credible feminist message of the cruelty and suicidal futility of the search for beauty at any price. The horror elements—actually “gore” or horror movies—seem superimposed and, of course, the characters are “types” without nuances. Refrain.