Pacientes embarazadas

Cinema in 2025 insists on dissolving its own frame. It no longer sits quietly in curated halls; it leaks into our screens, our commutes, even our sleepless nights. Films this year don’t just ask to be watched—they ask to be inhabited, to haunt us long after the credits should have rolled.

Take Mirrors Beneath the Lake, a work of quiet ferocity from director Hana Kobayashi. The story begins with divers searching for artifacts in a drowned village, but soon the water itself becomes the protagonist. Reflections shift, identities blur, and the boundary between the living and the forgotten grows thin. The film asks: when history resurfaces, who dares to look directly at it?

Taken together, these films remind us: cinema in 2025 doesn’t simply reflect life. It trespasses, unsettles, and illuminates. It returns not as an escape, but as a demand—asking us to see what glimmers beneath, what resists erasure, what still burns in the dark.