Spinal Tap II, Julia Roberts, and Paul Thomas Anderson: the top films to watch in autumn 2025.

This CSS code defines a custom font family called “Guardian Headline Full” with multiple font weights and styles. It includes light, regular, medium, and semibold weights, each with normal and italic variants. The font files are hosted on the Guardian’s servers and are provided in WOFF2, WOFF, and TrueType formats for broad browser compatibility.@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Bold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Bold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Bold.ttf’) format(‘truetype’);
font-weight: 700;
font-style: normal;
}

@font-face {
font-family: ‘Guardian Titlepiece’;
src: url(‘https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff2’) format(‘woff2’),
url(‘https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff’) format(‘woff’),
url(‘https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.ttf’) format(‘truetype’);
font-weight: 700;
font-style: normal;
}

@media (min-width: 71.25em) {
.content__main-column–interactive {
margin-left: 160px;
}
}

@media (min-width: 81.25em) {
.content__main-column–interactive {
margin-left: 240px;
}
}

.content__main-column–interactive .element-atom {
max-width: 620px;
}

@media (max-width: 46.24em) {
.content__main-column–interactive .element-atom {
max-width: 100%;
}
}

.content__main-column–interactive .element-showcase {
margin-left: 0;
}

@media (min-width: 46.25em) {
.content__main-column–interactive .element-showcase {
max-width: 620px;
}
}

@media (min-width: 71.25em) {
.content__main-column–interactive .element-showcase {
max-width: 860px;
}
}

.content__main-column–interactive .element-immersive {
max-width: 1100px;
}

@media (max-width: 46.24em) {
.content__main-column–interactive .element-immersive {
width: calc(100vw – var(–scrollbar-width));
position: relative;
left: 50%;
right: 50%;
margin-left: calc(-50vw + var(–half-scrollbar-width)) !important;
margin-right: calc(-50vw + var(–half-scrollbar-width)) !important;
}
}

@media (min-width: 46.25em) {
.content__main-column–interactive .element-immersive {
transform: translate(-20px);
width: calc(100% + 60px);
}
}

@media (max-width: 71.24em) {
.content__main-column–interactive .element-immersive {
margin-left: 0;
margin-right: 0;
}
}

@media (min-width: 71.25em) {
.content__main-column–interactive .element-immersive {
transform: translate(0);
width: auto;
}
}

@media (min-width: 81.25em) {
.content__main-column–interactive .element-immersive {
max-width: 1260px;
}
}

.content__main-column–interactive p,
.content__main-column–interactive ul {
max-width: 620px;
}

.content__main-column–interactive:before {
position: absolute;
top: 0;
height: calc(100% + 15px);
min-height: 100px;
content: “”;
}

@media (min-width: 71.25em) {
.content__main-column–interactive:before {
border-left: 1px solid #dcdcdc;
z-index: -1;
left: -10px;
}
}

@media (min-width: 81.25em) {
.content__main-column–interactive:before {
left: -10px;
}
}This appears to be CSS code for styling a web page, likely for an article layout. It includes rules for:

– Interactive content columns with specific borders, spacing, and maximum widths
– Color variables for elements like datelines, headers, captions, and feature colors
– Special styling for the first paragraph after certain elements, including a large drop cap style for the first letter
– Adjustments for horizontal rules and spacing in various content sections

The code defines styles for different parts of an article body, comment body, and feature content with specific padding, margins, and typography rules.For showcase elements in various article containers, the figcaption is set to a static position, with a full width up to 620px.

Immersive elements span the full viewport width, minus the scrollbar. On screens up to 71.24em, their maximum width is 978px, and figcaption padding adjusts at different breakpoints. Below 46.24em, immersive elements align to the left edge with adjusted margins.

The furniture-wrapper uses a grid layout on screens 61.25em and above, defining columns and rows for title, headline, meta, standfirst, and portrait sections. It includes styling for borders, spacing, typography, and link decorations. On larger screens (71.25em+), the grid structure changes to accommodate more columns and rows.The provided CSS code defines styles for a webpage layout, particularly for a component named “furniture-wrapper.” It includes rules for positioning, spacing, colors, and responsive behavior across different screen sizes. Key elements styled are meta information, headlines, standfirst text, and media components. The code uses media queries to adjust styles for various device widths, ensuring the layout remains functional and visually consistent.The CSS code defines styles for a dark-themed article layout. It includes:

– A caption button positioned at the bottom right, with adjustments for different screen sizes.
– Background and text colors using CSS variables for dark mode, with a primary accent color (#ff5943).
– Responsive margins and padding for the content wrapper, expanding on larger screens.
– Styling for headlines, meta information, and social buttons, including hover effects that invert colors for better visibility.
– Media queries to adjust layout and spacing for various device widths, ensuring the design remains consistent and readable.This CSS code styles elements within a container with the class “furniture-wrapper.” It removes borders and background images from links in the “standfirst” section, underlines them with a specific color, and changes the underline color on hover. Text in paragraphs and list items is set to a light gray color.

For larger screens, the first paragraph in the “standfirst” section gets a top border, which is removed on even larger screens. List items in the “standfirst” section also use the light gray color.

On medium and larger screens, the container adds decorative sidebars using pseudo-elements (:before and :after) with background colors and borders. The width and position of these sidebars adjust based on screen size.

Other elements, like SVGs and social/comment sections, are styled with specific border colors. Headings (h2) in the article body use a light font weight by default, but switch to bold if they contain a strong tag.

Finally, a custom font named “Guardian Headline Full” is loaded from a specified URL.@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Light.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Light.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Light.ttf’) format(‘truetype’);
font-weight: 300;
font-style: normal;
}

@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-SemiboldItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-SemiboldItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-SemiboldItalic.ttf’) format(‘truetype’);
font-weight: 600;
font-style: italic;
}The Guardian website uses custom fonts for its headlines and titles. These fonts are loaded from specific URLs in different formats like WOFF2, WOFF, and TTF. Each font has a defined weight (like bold or black) and style (normal or italic).

For mobile users on iOS or Android, the site adjusts colors in dark mode. For example, the feature color changes from red to a brighter shade when dark mode is enabled. There are also specific styling rules for the first letter of paragraphs in articles on mobile devices.For iOS and Android devices, the following styles apply to article containers:

– The first letter of the first paragraph after the initial element or sign-in gate is styled with a secondary pillar color.
– Article headers have a height of zero.
– Furniture wrappers have top and side padding.
– Content labels use a bold, serif font, are colored with the new pillar color, and are capitalized.
– Headlines are set to 32px, bold, with bottom padding and a dark gray color.
– Image elements are positioned relatively, have adjusted margins and width, and maintain their aspect ratio.For images in article containers on Android, the background is transparent, and the width adjusts to the viewport minus the scrollbar, with the height set to auto.

On iOS and Android, the standfirst section in article containers has top and bottom padding, with a negative right margin.

The text in the standfirst uses specific font families.

Links in the standfirst are styled with a color from a variable, underlined with an offset, and a border color from another variable, with no bottom border. On hover, the underline color changes to match the link color.

Meta sections in article containers have no margin.

Byline elements in feature article containers on iOS also have no specified margin.On iOS and Android devices, for feature, standard, and comment articles, the author byline text and links are styled with a specific color variable. The meta section has no padding, and any SVG icons within it use the same color variable for their stroke.

For showcase elements, the caption button is displayed as a flex container, centered with specific dimensions and positioning. The article body has padding on the left and right sides.

Additionally, image elements within the article body that are not thumbnails or immersive types follow these styling rules.For Android devices, non-thumbnail and non-immersive images in feature, standard, and comment articles have no margin, a width equal to the viewport width minus 24 pixels and the scrollbar width, and an automatic height.

On iOS and Android, captions for these same images have no padding.

Immersive images in feature, standard, and comment articles on both iOS and Android have a width equal to the viewport width minus the scrollbar width.

Quoted blockquotes in the article body on iOS and Android use the new pillar color for their decorative element.

Links in the article body on both iOS and Android use the primary pillar color, have no background image, are underlined with an offset of 6 pixels, and use the header border color for the underline. On hover, the underline color changes to the new pillar color.

In dark mode, the furniture wrapper in feature, standard, and comment articles on iOS and Android has a background color of #1a1a1a. The content labels within these wrappers…For iOS and Android devices, the following styling rules apply to article containers:

– Content labels use the color defined by the variable `–new-pillar-colour`.
– Headlines in feature, standard, and comment articles have no background color and use the color from `–headerBorder`.
– Paragraphs in the standfirst section use the color from `–headerBorder`.
– Links in the standfirst and author bylines use the color from `–new-pillar-colour`.
– SVG icons in the miscellaneous metadata section use the stroke color from `–new-pillar-colour`.
– Captions for showcase images use the color from `–dateline`.
– Blockquotes in the article body use the color from `–new-pillar-colour`.For iOS and Android devices, the background color of article, feature, and comment bodies is set to a dark background. Additionally, the first letter of paragraphs following certain elements in these sections is styled with a drop cap effect.This CSS code targets the first letter of paragraphs that follow specific elements, such as `.element-atom` or sign-in gates, within various article containers on iOS and Android devices.This CSS code defines styles for specific elements on Android and iOS devices. It includes:

– Setting the first letter color of certain paragraphs to white or a custom color variable.
– Adjusting padding and margins for elements like standfirst text and caption buttons.
– Defining dark mode color variables for text, icons, and links.
– Hiding article headers by setting their opacity to zero.
– Removing margins from furniture wrappers and adjusting label styles.

The code uses media queries and custom properties to handle different color schemes and device-specific layouts.For iOS and Android devices, the following styles apply:

– Content labels in standard and comment articles use the new pillar color or a dark mode feature color.
– Headlines in feature, standard, and comment articles are set to a light gray color (#dcdcdc) and override other styles.
– Links in article headers and title sections use the new pillar color or a dark mode feature color.
– Meta section separators display a repeating linear gradient using the header border color.
– Bylines in meta sections are styled in light gray (#dcdcdc).
– Links within meta sections use the new pillar color or a dark mode feature color.For Android devices, links within the meta section of feature, standard, and comment article containers are styled with a color that uses the new pillar color variable, defaulting to the dark mode feature color.

On iOS and Android, SVG elements within the meta section’s miscellaneous area in feature, standard, and comment article containers have their stroke color set to the new pillar color, with a fallback to the dark mode feature color.

Labels in the alerts section of the meta area for feature, standard, and comment articles on both iOS and Android are given a light gray color with important priority.

Icons within the meta section of feature, standard, and comment articles on iOS and Android use the new pillar color, defaulting to the dark mode feature color.

Similarly, the :before pseudo-elements of these icons in the meta section for feature, standard, and comment articles on iOS and Android also adopt the new pillar color, with the dark mode feature color as a fallback.For iOS and Android devices, the following CSS rules apply:

– Icons within meta sections use the new pillar color, or a dark mode feature color as a fallback.
– On larger screens (71.25em and above), meta sections display a top border using the new pillar color or a default header border color. The meta misc elements are adjusted with a left margin of 20px.
– Paragraphs and unordered lists in article bodies have a maximum width of 620px.
– Blockquotes with the “quoted” class use the secondary pillar color for their decorative before element.
– Links within prose sections are styled according to the secondary pillar color.This CSS code defines styles for links and other elements in article containers on iOS and Android devices. Links are underlined with a light gray line and use a primary color. On hover, the underline changes to a secondary color.

In dark mode, the colors adjust to a dark theme palette. For apps, it sets specific colors for text, icons, and borders, including bylines and meta information.

It also includes a media query for light mode that inverts the color of a sponsor logo image.

Additionally, it loads the Guardian Headline font family in Light and Light Italic weights from the Guardian’s servers, specifying multiple file formats for cross-browser compatibility.The Guardian Headline Full font family includes several styles, each available in multiple formats (WOFF2, WOFF, and TTF). The styles are:

– Regular (normal weight, normal style)
– Regular Italic (normal weight, italic style)
– Medium (medium weight, normal style)
– Medium Italic (medium weight, italic style)
– Semibold (semibold weight, normal style)
– Semibold Italic (semibold weight, italic style)
– Bold (bold weight, normal style)
– Bold Italic (bold weight, italic style)
– Black (black weight, normal style)

Each font is sourced from the Guardian’s asset server.This CSS code defines custom fonts and styles for a navigation component. It includes font-face rules for “Guardian Headline” and “Guardian Titlepiece” with various file formats and weights. The styles set up a responsive interactive list navigation with specific colors, spacing, hover effects, and borders. The component adjusts for different screen sizes and includes a sticky variant.The interactive list navigation has a width that adjusts to the viewport width minus the scrollbar width. On screens wider than 46.25em, the sticky navigation container has a fixed width of 640px.

Inside the sticky navigation, the inner container is positioned relatively. The header and list elements take up the full viewport width minus the scrollbar. On larger screens (46.25em and above), they are set to 640px wide.

The header is positioned absolutely at the top with a high z-index. On very wide screens (71.25em and above), it gets a left margin of -10px.

The header’s SVG icon is rotated 180 degrees and has a smooth transition for rotation, unless reduced motion is preferred. The button in the header has padding that changes with screen size: 0 10px by default, 0 20px on screens 30em and above, and back to 0 10px on screens 71.25em and above.

A horizontal line appears below the button, with its width and position adjusting based on screen size. When the button is focused, a blue outline (using a box-shadow) appears around it.

The list is positioned absolutely, with its top position calculated based on the number of navigation links. It transitions smoothly to its position, unless reduced motion is preferred. The list has a background color and padding that adjusts with screen size.

List items have padding and a horizontal line that adjusts on wider screens. The first list item has no top border.

When the navigation is open, the SVG icon rotates to 0 degrees, and the list moves to a top position of 31px.

In dark mode (when preferred and within an in-app context), colors change: borders become #999999, the navigation background becomes #121212, text becomes #dcdcdc, and button colors adjust accordingly.The sticky interactive list navigation element is initially hidden. It is positioned relative to its normal place but becomes fixed at the top of the viewport when active, with a z-index of 1 to ensure it stays above other content. It has a left margin of -10px and a height of 29px.

On screens 30em wide or larger, the left margin increases to -20px. For screens 71.25em or wider, the margin returns to -10px. When the element has the “sticky” class, it becomes visible.

Additionally, several font faces are defined for the “Guardian Headline Full” font family, each with different weights and styles (light, regular, medium, semibold, and their italic variants). These fonts are loaded from the Guardian’s asset servers in WOFF2, WOFF, and TTF formats.The Guardian uses custom fonts for its headlines and titles. These fonts are loaded from their servers in different formats (WOFF2, WOFF, TTF) and come in various weights and styles, such as semibold, bold, and black, with both regular and italic versions.

For the layout, the main content column adjusts its margins and widths based on screen size. On larger screens, it shifts to the right, and elements like standard content, showcases, and immersive sections have specific maximum widths that change with the viewport. On smaller screens, immersive elements expand to the full width of the viewport.The main content column for interactive elements has a maximum width of 620 pixels for paragraphs and lists. A vertical line appears on the left side of this column on larger screens, starting at 71.25em and adjusting position at 81.25em.

Interactive elements within this column have specific spacing, with no top or bottom margins but 12 pixels of padding. When a paragraph is followed by an interactive element, the spacing changes to 12 pixels of margin instead.

Figures containing interactive content are styled to have no margin or padding, and their inner divs are set to zero height. Headings containing strong text have a scroll margin of 30 pixels from the top.

On larger screens, when a portrait atom exists, navigation elements like content lists and sticky navs are positioned with a left border, padding, and specific margins. The sticky navigation is hidden by default but becomes visible and sticks to the top when active, with left margins adjusting based on screen size.

Font faces for “Guardian Headline Full” are defined with light, light italic, regular, and regular italic styles, each sourcing woff2, woff, and ttf files from the Guardian’s assets.@font-face {
font-family: “Guardian Headline Full”;
src: url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-RegularItalic.woff”) format(“woff”),
url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-RegularItalic.ttf”) format(“truetype”);
font-weight: 400;
font-style: italic;
}

@font-face {
font-family: “Guardian Headline Full”;
src: url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff2”) format(“woff2”),
url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff”) format(“woff”),
url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.ttf”) format(“truetype”);
font-weight: 900;
font-style: italic;
}@font-face {
font-family: “Guardian Headline”;
src: url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff2”) format(“woff2”),
url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff”) format(“woff”),
url(“https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.ttf”) format(“truetype”);
font-weight: 900;
font-style: italic;
}

@font-face {
font-family: “Guardian Titlepiece”;
src: url(“https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff2”) format(“woff2”),
url(“https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff”) format(“woff”),
url(“https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.ttf”) format(“truetype”);
font-weight: 700;
font-style: normal;
}

.Interactive-list-nav.svelte-14i5uwj.svelte-14i5uwj {
–border: #dcdcdc;
background-color: var(–nav-background);
color: var(–nav-text-color);
padding: 0;
max-width: 620px;
grid-area: interactivelist;
}

@media (min-width: 61.25em) {
.Interactive-list-nav.svelte-14i5uwj.svelte-14i5uwj:not(.sticky) {
margin-top: 20px;
}
}

.Interactive-list-nav.svelte-14i5uwj button.svelte-14i5uwj {
width: 100%;
max-width: calc(100vw – var(–scrollbar-width, 0px));
display: flex;
justify-content: space-between;
align-items: center;
background-color: var(–nav-background);
padding: 0;
border: none;
color: var(–nav-text-color);
}

@media (min-width: 61.25em) {
.Interactive-list-nav.svelte-14i5uwj button.svelte-14i5uwj {
border-top: 1px solid var(–article-link-border);
}
}

.Interactive-list-nav.svelte-14i5uwj button.svelte-14i5uwj:hover {
cursor: pointer;
}

.Interactive-list-nav.svelte-14i5uwj button:hover h2.svelte-14i5uwj {
text-decoration: underline;
text-decoration-color: var(–nav-text-color);
}

.Interactive-list-nav.svelte-14i5uwj h2.svelte-14i5uwj {
display: inline-block;
font-family: “Guardian Text Sans Web”, “Helvetica Neue”, Helvetica, Arial, “Lucida Grande”, sans-serif;
font-weight: 500;
padding: 6px 0 8px;
font-size: 14px;
}

.Interactive-list-nav.svelte-14i5uwj svg.svelte-14i5uwj {
width: 20px;
height: 18px;
stroke: var(–nav-text-color);
fill: var(–nav-text-color);
}

.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj {
position: relative;
}

@media (min-width: 46.25em) {
.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj {
padding-left: 0;
margin-left: 0;
}
}

@media (min-width: 71.25em) {
.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj {
margin-left: -10px;
padding-left: 10px;
}
}

.Interactive-list-nav.svelte-14i5uwj ul li:first-of-type a.svelte-14i5uwj {
border-top: 1px solid var(–article-link-border);
}

.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj:before {
content: “”;
position: absolute;
width: 100%;
background-color: var(–nav-text-color);
max-width: calc(100vw – var(–scrollbar-width, 0px));
height: 0;
transition: height 0.2s ease;
top: 0px;
left: 0;
}

@media (prefers-reduced-motion) {
.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj:before {
transition: none;
}
}

@media (min-width: 71.25em) {
.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj:before {
left: 10px;
width: calc(100% – 10px);
}
}

.Interactive-list-nav.svelte-14i5uwj ul li.svelte-14i5uwj:hover:before {
height: 4px;
}

.Interactive-list-nav.svelte-14i5uwj ul li.current a.svelte-14i5uwj {
font-weight: bold;
}

.Interactive-list-nav.svelte-14i5uwj ul li a.svelte-14i5uwj {
font-family: “Guardian Headline”, “Guardian Headline Full”, “Guardian Egyptian Web”, Georgia, serif;
display: flex;
color: var(–nav-text-color);
text-decoration: none;
font-style: normal;
justify-content: space-between;
padding: 4px 0 16px;
font-size: 17px;
font-weight: 700;
line-height: 115%;
border-bottom: 1px solid var(–article-link-border);
}

.Interactive-list-nav.svelte-14i5uwj ul li a.svelte-14i5uwj:hover {
border-bottom: 1px solid var(–article-link-border);
}

.Interactive-list-nav.sticky.svelte-14i5uwj.svelte-14i5uwj {
width: calc(100vw – var(–scrollbar-width, 0px));
}

@media (min-width: 46.25em) {
.Interactive-list-nav.sticky.svelte-14i5uwj.svelte-14i5uwj {
width: 640px;
max-width: 640px;
}
}

.Interactive-list-nav.sticky.svelte-14i5uwj .Interactive-list-nav–inner.svelte-14i5uwj {
position: relative;
}

.Interactive-list-nav.sticky.svelte-14i5uwj .Interactive-list-nav–header.svelte-14i5uwj,
.Interactive-list-nav.sticky.svelte-14i5uwj ul.svelte-14i5uwj {
width: calc(100vw – var(–scrollbar-width, 0px));
}When the screen is at least 46.25em wide, the sticky navigation header and list have a fixed width of 640px, with no maximum width limit. The header is positioned absolutely at the top with a high z-index. On screens 71.25em or wider, the header shifts 10px to the left.

The header’s SVG icon rotates 180 degrees with a smooth transition, unless reduced motion is preferred. Button padding adjusts at different breakpoints: 0 10px by default, 0 20px at 30em, and back to 0 10px at 71.25em.

A thin line appears below the button, its width and position changing with screen size. On focus, a blue outline is shown without a shadow. The list is positioned absolutely, its top value calculated based on the number of links, with a transition effect unless reduced motion is preferred. Background and padding adjust at various breakpoints.

In dark mode, colors change to darker shades with light text. The “open” class rotates the SVG icon back to 0 degrees and moves the list down to 31px.

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Caught Stealing
Comic book author and novelist Charlie Huston adapts his own cult bestseller. Darren Aronofsky directs this comedy, marking a shift from his previous film, the body-image tragedy The Whale. Austin Butler stars as ex-baseball player Hank Thompson, who gets involved in New York’s criminal underworld in the 1990s.

29 August
The Roses
Benedict Cumberbatch and Olivia Colman star in this new version of the sharp satire.The theme of marital breakdown, last captured on screen in 1989’s The War of the Roses starring Michael Douglas and Kathleen Turner, returns in a new film. Audiences will be eager to see if this version can match the devastating final shot of its predecessor. With Benedict Cumberbatch and Olivia Colman in the lead roles, it promises a clash of A-list talent.

Young Mothers
A stunning return to form for Belgian masters of social realism, the Dardenne brothers. This quietly outstanding film follows the lives of teen mothers and expectant mothers in a state home, emphasizing gentleness, compassion, and love. Its powerful message of hope, found in giving and receiving help, resonates deeply.

Little Trouble Girls
Slovenian director Urška Djukić makes an elegant and mysterious debut with this film, which reimagines the clichéd idea of a Catholic girl’s sexual awakening. It centers on an all-girl teenage choir under the control of a demanding, charismatic choirmaster who isn’t afraid to humiliate those who displease him.

Spinal Tap II: The End Continues
Before Ricky Gervais or Steve Carell, there was the rock colossus Spinal Tap, whose 1980s comeback tour was famously documented. Now, a sequel reunites the band in their silver years, still rocking hard and discovering that sex-positivity has brought them back into fashion. As they say, what’s wrong with being sexy?

A Big Bold Beautiful Journey
Korean auteur Kogonada (a pseudonym as guarded as Elena Ferrante’s) takes a bold swing with this romantic drama. It stars Margot Robbie and Colin Farrell as two strangers brought together by an extraordinary journey. In anyone else’s hands, it might feel sentimental, but Kogonada’s light, expert touch elevates it.

One Battle After Another
For movie hipsters and superfans, this is the big one. Director Paul Thomas Anderson returns with a film inspired by Thomas Pynchon’s 1990 novel Vineland, offering a darkly comic take on the war on drugs, the war on terror, and the paranoid style of American politics. Leonardo DiCaprio and Sean Penn star as ex-revolutionaries trying to save the former’s daughter, played by Chase Infiniti.

Him
A classic underdog sports drama: Tyriq Withers plays Cameron, a promising but inexperienced young football player who gets the chance to train with charismatic quarterback Isaiah White—a serious role for comedy veteran Marlon Wayans. The experience proves unnerving. Produced by Jordan Peele.

The Smashing Machine
Benny Safdie goes solo directing this true-life sports film, inspired by a 2002 HBO documentary. Dwayne Johnson stars as massive MMA fighter Mark Kerr, with Emily Blunt as his wife, Dawn. The action promises to show that the hero is more than just a machine.

Urchin
British actor Harris Dickinson makes an impressive directorial debut with Urchin, a smart and compassionate film about homelessness. Frank Dillane gives a engaging, humorous, and sympathetically vulnerable performance as Mike, a man who has lived on the streets for five years.

Roofman
Jeffrey Manchester, a former US army reserve soldier, became a pop-culture antihero in the 1990s for robbing McDonald’s branches by breaking in through the roof—earning him the nickname “Roofman.”An – and then waiting in the bathrooms until opening time, when he would rush out and empty the cash registers. Channing Tatum plays Jeffrey, with Derek Cianfrance directing.
October 17
Good Fortune
In this trading-places comedy, Keanu Reeves brings his signature deadpan style to the role of Gabriel, a “budget” angel who meddles in the lives of ordinary people with mixed results. Writer-director Aziz Ansari stars as Arj, an anxious gig worker employed by Seth Rogen’s heartless billionaire. Gabriel swaps their lives to show Arj that money isn’t everything—or is it?
October 17
After the Hunt
A #MeToo story set in American academia, written by Nora Garrett and directed by Luca Guadagnino. Julia Roberts plays Ivy League professor Alma Olsson, who faces pressure when her friend and colleague, played by Andrew Garfield, is accused of sexual assault. Ayo Edebiri co-stars as Alma’s star student, Maggie.
October 22
A House of Dynamite
A tense, real-time apocalypse thriller from action specialist Kathryn Bigelow. The title nods to Sam Goldwyn’s apocryphal 1945 remark: “This atom bomb… it’s dynamite!” Idris Elba and Rebecca Ferguson star in this high-stakes drama set in the White House as officials respond to an apparent incoming nuclear missile attack.
October 24
Springsteen: Deliver Me from Nowhere
Jeremy Allen White channels blue-collar energy to play Bruce Springsteen during the making of his 1982 album Nebraska. Stephen Graham plays Bruce’s father, Douglas, and Jeremy Strong appears as his manager and producer, Jon Landau.
October 24
The Mastermind
Possibly the most subdued—yet intriguing and funny—heist movie ever. Josh O’Connor stars as James, an art school dropout in 1960s Massachusetts who plans to rob a local gallery with the help of some oddly recruited tough guys. Director Kelly Reichardt paints him as an Updike-like figure fleeing the consequences of his actions.
October 24
Bugonia
Greek director Yorgos Lanthimos moves closer to his goal of working with Emma Stone outside of film—this time remaking the South Korean sci-fi comedy Save the Green Planet! Stone plays a pharmaceutical CEO kidnapped by two men who believe she’s a hostile alien.
October 31
The Running Man
A dystopian thriller-satire about the evils of television, directed by Edgar Wright and based on Stephen King’s 1982 novel—previously adapted in 1987 with Arnold Schwarzenegger. Glen Powell stars as Ben, a contestant on a deadly reality show where he’s hunted globally for 30 days, with a cash prize if he survives.
November 7
The Thing With Feathers
A grief drama adapted from Max Porter’s novella, which reworks Emily Dickinson’s line about hope. Benedict Cumberbatch plays a man grappling with the loss of his wife, alongside his two sons. Grief manifests as a crow, reminiscent of Ted Hughes’ poetry.
November 7
The Choral
An original screenplay by Alan Bennett, directed by Nicholas Hytner. Ralph Fiennes stars as Dr. Guthrie, a choirmaster in a small Yorkshire town in 1916. With most men away, he must assemble a choir of young boys and girls to perform Elgar’s The Dream of Gerontius.Their innocence and the beauty of the music create a stark contrast to the horrors of war.

7 November
Train Dreams
Based on Denis Johnson’s novella and directed by Clint Bentley (who recently made the acclaimed Sing Sing), this drama explores fragile masculinity. Joel Edgerton plays Robert, a lonely railway worker whose life is isolated and vulnerable. He spends long periods away from his wife but remains deeply moved by the beauty of the American landscape around him.

7 November
Keeper
Actor and filmmaker Osgood Perkins, who broke through last year with the eerie horror thriller Longlegs, returns with another chilling film. Tatiana Maslany and Rossif Sutherland star as Liz and Malcolm, a couple seeking a romantic retreat at a remote cabin. When Malcolm has to return to the city briefly, Liz is left alone to face a terrifying evil.

14 November
Nuremberg
Russell Crowe seems born to play this bold, brash role. He stars as Nazi Luftwaffe commander Hermann Göring in this tense postwar psychological drama. Rami Malek plays Douglas Kelley, the U.S. Army psychiatrist assigned to evaluate Göring’s fitness for trial at Nuremberg. The result is a gripping battle of wits.

14 November
Jay Kelly
George Clooney, a beloved Hollywood legend with old-school charm who could use a hit, stars in this film. Directed and co-written by Noah Baumbach with Emily Mortimer, Clooney plays an aging but incredibly handsome movie superstar. Alongside Adam Sandler as his agent, he embarks on a Fellini-esque journey through Europe, surrounded by a carnival of adoring fans.

14 November
Die, My Love
Lynne Ramsay brings gothic realism and intense visuals to this fierce study of a woman’s descent into bipolar disorder. Jennifer Lawrence delivers a performance with the passionate intensity of Gena Rowlands, portraying a mother left alone all day with her new baby in a sprawling Montana house. Robert Pattinson plays her husband, and Sissy Spacek is her stressed mother-in-law.

14 November
Blue Moon
Ethan Hawke takes on the fascinating role of lyricist Lorenz Hart, struggling with depression and alcoholism in 1943—a time when such conditions were cruelly dismissed as being a “maudlin drunk.” The story shows Hart at the opening night of Oklahoma!, a hit musical written by his former partner Richard Rodgers with new collaborator Oscar Hammerstein. Hart leaves early and wrestles in a bar with what this success means for his own future.

14 November
Wicked: For Good
The first part of this major screen adaptation of the musical Wicked (which reimagines the origin story of the Wicked Witch from The Wizard of Oz) was well-received by audiences and critics. Now, the second part reunites us with Cynthia Erivo as Elphaba, Ariana Grande as Glinda, and Jonathan Bailey as the hilarious Prince Fiyero.

21 November
Pillion
It’s about time author Adam Mars-Jones made his mark on British cinema, and this uproarious yet tender adaptation of his novella Box Hill does just that. It’s a queer BDSM love story about biker romance and devotion, with hints of Alan Bennett, Tom of Finland, and Wallace and Gromit. Alexander Skarsgård plays Ray, a leather-clad alpha male, who is drawn to the submissive nature of Harry Melling’s sweet-natured Colin, leading their relationship down an unexpected path.

28 November
Avatar: Fire and Ash
James Cameron’sAvatar films often achieve massive box office success yet fade quickly from public memory. If this latest installment follows the same pattern, it certainly isn’t rushing—the runtime stretches to three hours and 12 minutes. Sam Worthington and Zoe Saldaña reprise their roles as Jake and Neytiri, fighting for survival in a world undergoing dramatic change.

December 19
Marty Supreme
This is the solo directorial effort from Josh Safdie, the other half of the Safdie brothers, and it’s another sports drama based on a true story. Set in 1950s New York, it stars Timothée Chalamet as Martin “Marty” Reisman, the U.S. ping pong champion nicknamed “the Needle” for his slender, lightweight frame. Safdie has drawn Gwyneth Paltrow out of semi-retirement to play Marty’s romantic interest.

December 26

Frequently Asked Questions
Of course Here is a list of helpful and clear FAQs about the top films to watch in autumn 2025

General Autumn 2025 Film FAQs

Q Why are these specific films considered top picks for autumn 2025
A They are highly anticipated projects from acclaimed directors and beloved stars generating significant buzz for their artistic merit and cultural impact

Q Where will I be able to watch these movies
A They will likely have a theatrical release first After that they will become available for rental or streaming on platforms like Apple TV Prime Video or Max but specific details will be announced closer to their release dates

Q Are these movies connected or part of a series
A No they are three separate standalone films from different creators The only connection is that they are all major releases scheduled for the same season

FAQs about Spinal Tap II

Q What is Spinal Tap II
A Its the longawaited sequel to the iconic 1984 mockumentary This Is Spinal Tap which follows the fictional heavy metal band on another misadventure

Q Do I need to watch the first movie to understand the sequel
A Its highly recommended Youll appreciate the returning characters inside jokes and the bands history much more if youve seen the original

Q Is the original cast returning
A Yes The core membersMichael McKean Christopher Guest and Harry Shearerare all returning to reprise their roles as David St Hubbins Nigel Tufnel and Derek Smalls

Q Who is directing it
A The sequel is being directed by Rob Reiner who also directed the original film and played the documentarian Marty DiBergi

FAQs about the Julia Roberts Film

Q What is the new Julia Roberts movie about
A Specific plot details are often kept secret but its reported to be a dramatic thriller Keep an eye on entertainment news for the official synopsis as the release date gets closer

Q Who is she working with

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