Prestige and indie films are underperforming at the box office during the 2025 fall season, with several high-profile releases failing to draw audiences despite critical buzz. Variety columnist Owen Gleiberman explores the reasons behind this trend and suggests a path forward through more audience-focused storytelling. Hits like 'Materialists' and 'One Battle After Another' offer hope amid the disappointments.
The fall 2025 movie season has been marked by underwhelming box office results for indie and prestige films, a stark contrast to past years when such releases fueled awards buzz and strong earnings. As Variety notes, the traditional fall slate of critically acclaimed movies once mirrored blockbuster season for indies, a pattern solidified in the 1990s under figures like Harvey Weinstein. However, post-pandemic shifts in viewing habits have eroded this dynamic.
Underperforming Releases
Several notable films have flopped this season. 'After the Hunt,' an academic thriller starring Julia Roberts, failed to attract viewers seeking an anti-woke narrative. 'The Smashing Machine,' featuring Dwayne Johnson in a dramatic role, felt too documentary-like for audiences. The Bruce Springsteen biopic 'Springsteen: Deliver Me from Nowhere' struggled as an art-house music film about his austere album. Sydney Sweeney's boxing drama 'Christy' opened to modest grosses, overshadowed by off-screen publicity. Even 'Bugonia,' directed by Yorgos Lanthimos and starring Emma Stone, earned just $12.5 million after its second wide-release weekend, far from the success of their prior collaboration 'Poor Things.' Earlier examples like 'Tár,' 'Anatomy of a Fall,' and 'Anora' ($20 million total) highlight a new reality where $20 million equates to past $50 million benchmarks.
Reasons for the Slump
Gleiberman attributes the decline to streaming's dominance, shortened theatrical windows reducing urgency, deteriorating theater experiences (e.g., long trailers, phone distractions), and television absorbing indie-style storytelling. Netflix's strategy of keeping potential hits like 'Frankenstein,' 'Nosferatu,' 'Wake Up Dead Man: A Knives Out Mystery,' and 'A House of Dynamite' out of theaters exacerbates the issue. Festival premieres at Sundance, Cannes (e.g., 'Eleanor the Great,' 'Eddington'), and Venice have also lost momentum, with buzz not translating to ticket sales—except for non-festival entry 'One Battle After Another' by Paul Thomas Anderson.
Signs of Hope and Advice
Amid the gloom, successes like Celine Song's rom-com 'Materialists,' a timely take on modern dating, and Anderson's culturally resonant 'One Battle After Another' show promise. Upcoming 'Marty Supreme,' Josh Safdie's ping-pong thriller with Timothée Chalamet opening December 25, is predicted to follow suit as an entertaining crowd-pleaser akin to 'Uncut Gems.' Gleiberman urges indie filmmakers to prioritize bold, audience-engaging narratives that 'lift us out of ourselves,' echoing the entertaining spirit of New Hollywood and 1990s indie revolutions led by Quentin Tarantino. While niche films have a place, broader appeal is essential for survival.