The 2025 EE BAFTA Film Awards, held on 16 February 2025 at the Royal Festival Hall in London and hosted by actor David Tennant , celebrated the best films of the past year. The night’s top honours saw a remarkable tie: Conclave and The Brutalist each took home four awards, making them the evening’s most lauded films . Conclave, a Vatican-set thriller directed by Edward Berger, won Best Film and Outstanding British Film, among other categories . Its haul also included awards for Adapted Screenplay and Editing, underscoring its all-around excellence . Not far behind, Brady Corbet’s period drama The Brutalist claimed Best Director (for Corbet himself) and Leading Actor (Adrien Brody), alongside wins for Cinematography and **Original Score . These dual triumphs for Conclave and The Brutalist signal a year in which both a British-produced suspense drama and an artful American epic shared the spotlight.
In the acting categories, fresh talent shone alongside veteran skill. Adrien Brody secured Leading Actor for his role in The Brutalist, marking the Hollywood star’s first BAFTA win . Meanwhile, Mikey Madison, a 25-year-old newcomer, won Leading Actress for her breakout performance in Anora . Madison’s portrayal of a young sex worker who marries into a Russian oligarch’s family was widely acclaimed, and her win was something of an upset over seasoned competitors (Demi Moore had been an early favourite) . This recognition of a rising talent in a major category highlighted the BAFTAs’ willingness to reward emerging artists.
The supporting acting awards had their own share of drama. Zoe Saldaña took Supporting Actress for her performance in Emilia Pérez, a bilingual musical comedy . Saldaña’s win came despite significant controversy surrounding Emilia Pérez in recent weeks – the film had drawn criticism for elements of its portrayal of Mexico and a cast member’s resurfaced offensive tweets . Nonetheless, the Academy honoured the film’s excellence, also naming Emilia Pérez the Best Film Not in the English Language . On the Supporting Actor side, Kieran Culkin won for A Real Pain , further cementing his successful awards-season run. Culkin could not attend the ceremony, but his director and co-star Jesse Eisenberg accepted the BAFTA on his behalf – with a playful speech that became a talking point (more on that later) .
Beyond the acting and top film prizes, the BAFTAs cast a spotlight on new voices and technical artistry. The Outstanding Debut by a British Writer, Director or Producer went to Kneecap, an Irish-language film about a Belfast rap trio, with writer-director Rich Peppiatt receiving the award. In his acceptance, Peppiatt described Kneecap as “more than a film, it’s a movement” – a rallying cry for respecting language and culture . The evening’s highest honour, the BAFTA Fellowship, was presented to Warwick Davis in recognition of his exceptional contribution to film . Davis – beloved for Willow and the Harry Potter series – received a standing ovation as he accepted the Fellowship (the ceremony’s most prestigious lifetime achievement award). The EE Rising Star Award, the only BAFTA voted on by the public, went to David Jonsson, a 31-year-old London-born actor known for his work in Industry and the film Rye Lane . Jonsson’s win, over fellow nominees like Marisa Abela and Anora’s own Mikey Madison, marks him as a talent to watch in the coming years.
Even films that didn’t dominate the headlines still found recognition. Wicked, the musical fantasy adapted from the stage show, won two craft awards: Best Production Design and Best Costume Design . The science-fiction epic Dune: Part Two also took two technical prizes, for Best Sound and Best Special Visual Effects . There was a historic first in the brand-new Best Children’s & Family Film category – the inaugural award went to Wallace & Gromit: Vengeance Most Fowl, which also won Best Animated Film, giving director Nick Park a double reason to celebrate . Documentary filmmaking was honoured with Best Documentary for Super/Man: The Christopher Reeve Story , and in the category of Film Not in the English Language (mentioned earlier), France’s Emilia Pérez prevailed over international competitors . It was a night where big-budget blockbusters, indie darlings, and international cinema all shared the BAFTA stage.
While the awards themselves were the core of the evening, the 2025 BAFTAs also delivered plenty of memorable speeches, performances, and spontaneous moments that film enthusiasts will be talking about for years.
Returning as host for the second year in a row, David Tennant set a jovial tone. The Scottish actor made a grand entrance in a traditional kilt and sporran and opened the show with a witty skit. He jokingly summoned the “BAFTA gods” – esteemed actors Dame Helen Mirren, Jim Broadbent, and Brian Cox – to help bless the ceremony, before leading the audience in a tongue-in-cheek musical number . Tennant had the star-studded crowd singing along to The Proclaimers’ hit “I’m Gonna Be (500 Miles)”, with even international guests like Camila Cabello and Anna Kendrick joining in despite, as Tennant teased, “probably not having a clue what was going on” . His monologue kept the quips coming, at one point referencing the hefty 3.5-hour runtime of The Brutalist. “Who doesn’t like a chance to have a wee halfway through?” he deadpanned, joking about the film’s much-needed intermission and getting a roar of laughter for that very British phrasing .
The BAFTAs often feature musical interludes, and this year pop group Take That took the stage for a nostalgic performance. The British band – now a trio of Gary Barlow, Mark Owen and Howard Donald – performed “Greatest Day,” a 2008 hit that features in the film Anora . The number had the audience clapping along and gave the show a concert-like spark. It also led to a charming unscripted moment: as host Tennant roamed the aisles after the song, he encountered Saoirse Ronan, who had been a nominee for Leading Actress. Ronan turned into an excited fan, calling out to the departing band, “I’ve seen you twice!” . The crowd laughed as it became clear that even acclaimed actresses can fangirl over their favourite boy band – a light-hearted reminder that everyone in the room was also a movie (and music) fan at heart.
When Zoe Saldaña picked up her Best Supporting Actress BAFTA for Emilia Pérez, she delivered one of the night’s most heartfelt speeches. Taking the stage visibly moved, Saldaña noted that Emilia Pérez is a film that defies easy categorisation, and she paid tribute to her co-stars and crew. Partway through her remarks, she realised the ceremony’s countdown clock was urging her to wrap up – prompting a relatable moment of panic. “F***, f***, f***,” she blurted out with a nervous laugh as the audience reacted with surprise and warmth . Regaining her composure, Saldaña fought back tears as she thanked her mother “for being such a selfless person” and spoke about the power of storytelling. “Films are supposed to change hearts and challenge minds and I hope Emilia Pérez did something like this, because voices need to be heard,” she declared passionately . The theater erupted in applause, recognising not just her performance but the sincerity of her words. Saldaña’s win and speech were especially poignant given the context – the film’s lead actress, Karla Sofía Gascón, was absent due to controversy over past tweets . In a gracious move during an earlier acceptance for Best Film Not in the English Language, director Jacques Audiard had even blown a kiss to the absent Gascón via the cameras , underscoring a theme of inclusivity and forgiveness. Saldaña’s moment on stage affirmed that, controversies aside, the art and the people behind it deserved to be celebrated.
Mikey Madison, upon winning Leading Actress for Anora, gave a speech that marked her as not just a rising star but a compassionate voice. After collecting her golden mask trophy from presenter Catherine Zeta-Jones, the young actress thanked her mother “for driving [her] to so many auditions” and expressed gratitude to her fellow cast members. She then used her spotlight moment to honour the real people who inspired her role. Madison’s character in Anora is a sex worker, and to prepare, she had collaborated closely with women in that community. “I want to take a second to recognise the sex worker community,” Madison said earnestly on stage. “You deserve respect and decency, and I…urge others to do the same… I will always be a friend and an ally” . The auditorium applauded this powerful show of solidarity. In an industry often criticised for neglecting marginalised voices, Madison’s gesture of upliftment felt especially significant. Her win – and gracious words – signalled a breakthrough moment for both her career and the representation of sex workers in mainstream cinema.
Although Kieran Culkin was absent, his presence was certainly felt. The Succession star’s BAFTA for Supporting Actor (A Real Pain) was accepted by his friend, co-star, and the film’s writer-director Jesse Eisenberg. Eisenberg turned the situation into comedic gold. “This is like the fifth award I’ve picked up for Kieran,” he joked, smiling as he held Culkin’s trophy . “We have a similar life, but his is 20% better than mine,” he quipped, drawing hearty laughter from the audience . Eisenberg then accepted his own BAFTA for Best Original Screenplay for A Real Pain. Continuing his self-deprecating streak, he noted that his wife hadn’t come to the ceremony because she didn’t expect he would win – a remark that earned knowing chuckles from the crowd . In a night with several emotionally heavy speeches, Eisenberg’s light touch provided a welcome balance, showing that sometimes humility and humour go hand in hand.
The presentation of the BAFTA Fellowship to Warwick Davis was a standout emotional moment. The 53-year-old actor, known for iconic roles in Star Wars, Willow, and Harry Potter, took the stage to a standing ovation from his peers. In his acceptance speech, Davis was both witty and heartfelt. “This is the best thing that’s ever happened to me – and I’ve been in Star Wars,” he began jokingly, prompting cheers . He quickly pivoted to a more serious tone as he dedicated the honour to his late wife, Samantha, who had passed away the year before. Davis grew emotional as he acknowledged his children, who were in the audience, saying, “Thank you to the support of our wonderful children, I’ve been able to keep engaging in life” . The speech encapsulated why Davis was being honoured: not only for his remarkable career but for the resilience and positivity he has shown in the face of personal and physical challenges. (Davis was born with a rare form of dwarfism and has been a lifelong advocate for people with disabilities.) The moment resonated deeply, reminding everyone that behind the glitter of awards are individuals with inspiring life stories.
Another heartwarming speech came from David Jonsson, the recipient of the EE Rising Star Award. Jonsson, known for the BBC series Industry and a role in the recent film Alien: Romulus, was clearly humbled by the recognition. “I’ve got to be honest, this isn’t why I do it. Do you know what I mean?” he said, somewhat astonished to be on the BAFTA stage. “I’m just an East London boy…I didn’t really see a space for me in this industry. But this award is about people and as long as we can keep telling stories about people, I think there’s got to be a space for me.” . His impassioned words earned loud applause. Jonsson’s victory – decided by public vote – and his message of inclusion struck a chord, highlighting the importance of diverse voices in film. It was a hopeful note that acknowledged industry progress while calling for more to be done to make cinema a place for everyone.
The ceremony also included a moving In Memoriam segment, accompanied by actor Jeff Goldblum’s live piano performance that added a soulful touch . And even before the awards were handed out, real-world issues made themselves known on the red carpet. The team behind Sing Sing, a prison drama, revealed to reporters that two of their colleagues – including former inmate-turned-actor Clarence Maclin, a Supporting Actor nominee – had been denied visas to attend the event due to their past convictions . “It goes against the grain of everything this movie stands for,” lamented director Greg Kwedar, noting the film’s message of rehabilitation and second chances . This story, though unfolding off-stage, became part of the BAFTAs’ cultural conversation, reminding observers that the world of film does not exist in a vacuum separate from social realities.
No BAFTA analysis would be complete without a look at the red carpet, and 2025’s fashion did not disappoint. The BAFTAs might lack the balmy weather of Hollywood events, but the style on display in London was as bold and glamorous as ever, with a distinct British flair.
Leading the best-dressed lists was Cynthia Erivo, nominated for her lead role in Wicked. Erivo made a statement in a structured white gown with architectural shoulders and a flowing skirt . The dramatic ensemble turned heads and even earned her multiple shout-outs on social media for its couture brilliance. Fellow Leading Actress nominee Demi Moore opted for sparkle, arriving in a gown embellished with a mosaic of colourful sequins reminiscent of a stained-glass window . Moore’s fashion choice was equal parts elegant and eye-catching, proving that veteran stars can still take risks on the red carpet. Meanwhile, pop star-turned-actress Ariana Grande (a Supporting Actress nominee for Wicked) made one of her first major film awards appearances. Grande graced the event in an elegant pastel gown, bringing her signature pop glamour to the BAFTAs . Standing alongside co-star Cynthia Erivo in photos, Ariana’s presence highlighted the crossover of music and film talent – and she certainly dressed the part of a Hollywood princess at a British awards show.
There were also plenty of fashion moments that showcased personality. Actor Jeff Goldblum proved that he can always surprise with style: he hit the red carpet wearing a feather-adorned waistcoat over his suit . The quirky accessory – essentially a sleeveless vest covered in black feathers – could have been a risky choice for anyone else, but Goldblum carried it with such nonchalant confidence that it became one of the night’s talked-about looks. It wasn’t just the women embracing unique fashion. Colman Domingo, a Best Actor nominee for Sing Sing, showed the men how it’s done by eschewing a standard black tux. He sported a vividly coloured, impeccably tailored suit that critics praised as “10/10, no notes” for its blend of personality and sophistication . In a crowd where many male attendees played it safe, Domingo’s sartorial boldness stood out.
The theme of individuality continued with the team from Kneecap. True to the film’s rebellious spirit, the members of Kneecap (and director Rich Peppiatt) arrived wearing matching suits and balaclavas in their signature Irish flag colors . One member, in fact, is known for always wearing a tricolour balaclava, and for the BAFTAs he had a custom one to exactly match his green suit . This unorthodox ensemble brought a cheeky bit of punk attitude to the otherwise glamorous proceedings – and made for an unforgettable photo op. It’s not often you see formal wear paired with face masks at an awards show, and it perfectly reflected Kneecap’s edgy identity.
Several stars paid homage to classic looks. Reality star and actress Pamela Anderson was among those who embraced a “bridalcore” trend, donning a flowing white gown that could almost be a wedding dress . Anderson’s ethereal look was pure old-school glamour, adding a touch of classic Hollywood in contrast to some of the night’s more avant-garde outfits. There was also a notable absence on the carpet that nevertheless caused a stir: Kylie Jenner, who attended in support of her partner Timothée Chalamet, managed to slip past photographers and only appeared inside the venue . Chalamet himself, nominated for his turn as Bob Dylan in A Complete Unknown, looked characteristically stylish in a sleek black ensemble – but it was the behind-the-scenes spotting of the Kardashians star by his side that set social media abuzz, underscoring how the BAFTAs attract A-list attendees well beyond the film world.
From bold monochrome designs to playful accessories and surprise celebrity cameos, the BAFTA 2025 red carpet showcased a blend of British eccentricity and Hollywood glamour. It’s a night where a critically acclaimed actress can fangirl over a pop band, where an animated clay duo (Wallace & Gromit) can pose with a pop singer (Camila Cabello) backstage , and where high fashion meets personal expression. In other words, the BAFTAs red carpet continues to solidify its reputation as a highlight of the awards season for style-watchers.
With the BAFTAs wrapped up in grand style, the film industry now turns its eyes toward the Academy Awards, set to take place just two weeks later. The BAFTAs often serve as a bellwether for Oscar success, and the strong showing by Conclave and The Brutalist could shake up the Oscar race in several categories . Adrien Brody’s win, for instance, gives him momentum as a Best Actor contender in Hollywood, and Mikey Madison’s surprise BAFTA victory suddenly makes the Best Actress field more interesting than ever. Furthermore, the recognition of Conclave – a British production – as Best Film at the BAFTAs may bolster its profile globally, even if it’s not a typical frontrunner in the U.S. awards circuit.
Yet beyond speculation about future trophies, the 2025 BAFTAs left a lasting impression through its celebration of diversity, heartfelt storytelling, and community. It was a ceremony where blockbusters and indies stood side by side, where newcomers received standing ovations, and where statements were made – both political and sartorial – about who gets to be seen and heard in cinema. For film enthusiasts, it was a gratifying evening that honoured cinematic triumphs while also capturing the cultural moments that make award shows more than just prize-giving. As we await the Oscars, one thing is clear: the BAFTAs have set a high bar, and they’ve done so in a distinctly British fashion – with wit, warmth, and a passion for the movies that truly unite us all.