Copyright laws vary from country to country, but in the US, the copyright of a film expires 95 years after release. Thus, every year, a crop of old movies (and other works of art)enters the public domain, and 2025’s haul is better than average, both in terms of film and literature. Novels likeErnest Hemingway’sA Farewell to ArmsandWilliam Faulkner’sThe Sound and the Furyentered the public domain on January 1st, as did beloved characters like Popeye and Tintin. The short filmThe Karnival Kid, Mickey Mouse’s first talking appearance, also lost its copyright on that date.
The list of features that entered the public domain this year is also fairly interesting. It’s pretty eclectic, including several classic silent pictures and early talkies, alongside vintageBuster Keatonand an earlyHitchcockthriller. Surrealism, screwball comedies, and groundbreaking sci-fi can also be counted among their number. With this in mind, here are the ten best movies whose copyright expired in 2025.
10’The Black Watch' (1929)
Directed by John Ford
“It’s an old Highland song. It makes me think of home.” This adventuremovie marked directorJohn Ford’s(Stagecoach,The Searchers) first foray into sound filmmaking. The story centers on Captain Donald King (Victor McLaglen), a member of the Black Watch regiment sent on a secret mission to India during World War I. King faces challenges that test his duty and his moral compass, all while contending with a dangerous love interest.
The movie is pretty good for its time, though not without its flaws. Some viewers may not like Ford’s sentimental approach, while others will be put off by the limitations inherent to early sound technology. Still,The Black Watchis notable because it hints at the much more sophisticated films its director would go on to make. In terms of the performances, supporting playersMitchell LewisandWalter Longare the standouts, while Ford’s evocative visuals are the overall highlight.
The Black Watch
9’Bulldog Drummond' (1929)
Directed by F. Richard Jones
“I’m not afraid of danger; it’s my middle name.” This film was the first sound appearance for the character Bulldog Drummond, who has appeared in a ton of films and novels. He’s a suave ex-military officer turned amateur detective, played here byRonald Colman. Drummond is drawn into a thrilling case involving a damsel in distress and an international conspiracy.
While naturally dated,Bulldog Drummondoffers an enjoyable blend of humor, suspense, and action, jam-packed with all the juiciest detective tropes. It was well-received on release and remains decent despite a few melodramatic moments. Acting-wise, Colman (in his first talking role) does a great job, giving off the required roguish air and receiving an Oscar nomination for his efforts.Claud Allisteralso brings energy to his role as the comic sidekick. Finally,F. Richard Jones’s direction keeps the whole thing chugging along at a good pace.
Bulldog Drummond
8’Dynamite' (1929)
Directed by Cecil B. DeMille
“I don’t hate you. I just wish you’d go away.“Dynamitewas the first sound movie bylegendary directorCecil B. DeMille, the brains behindThe Ten CommandmentsandThe Greatest Show on Earth. It’s a class-focused drama about Cynthia Crothers (Kay Johnson), a wealthy socialite engaged to an aristocrat, who finds her life intertwined with that of Hagon Derk (Charles Bickford), a convicted miner awaiting execution.
The resulting flick is an extravaganza of glitz and glamour, though the story does take its sweet time to get going (the first act is overloaded with filler). The plot is a little ridiculous, and the social commentary is underdeveloped, but the romance and drama in the second half are fairly engaging. Plus, Johnson deserves props for elevating the dialogue with her wry delivery. The film is far from a masterpiece, but, as withThe Black Watchand John Ford,Dynamiteprovidesan interesting peak inside DeMille’s developing creativity.
7’The Cocoanuts' (1929)
Directed by Robert Florey and Joseph Santley
“Why, a four-year-old child could understand this! Run out and find me a four-year-old child.“The Cocoanutswas the first feature film to starthe legendary Marx Brothers—Groucho,Harpo,Chico, andZeppo—bringing their vaudeville antics to the silver screen. Set in a struggling Florida hotel during the 1920s land boom, the film centers on Groucho as a fast-talking, hapless manager scheming to swindle his way to success. Chaos ensues as the brothers become embroiled in various romantic entanglements and a jewel heist.
The Cocoanutsisn’t the Brothers' best movie (that’sDuck Soup), butit’s stilla solid showcase of their sharp wit and impeccable comedic timing. The movie crams an impressive amount of sight gags (and general zaniness) into its 96 minutes but stumbles with the musical numbers and uninspired direction. Still,The Cocoanutswas a box office success, paving the way for the Brothers' future success.
The Cocoanuts
6’Spite Marriage' (1929)
Directed by Edward Sedgwick
“She loves him, but she doesn’t even know I exist.“Buster Keatonhelms this romantic comedy, his last silent movie. He plays Elmer, a hapless suitor infatuated with stage actress Trilby Drew (Dorothy Sebastian). After being spurned, Elmer finds himself caught up in a series of increasingly absurd situations, including a disastrous marriage meant to make Trilby’s lover jealous.
Naturally, this premise serves as a vehicle forKeaton’s impressive physical comedy, and the approach works.There are many fantastic moments here, including Keaton trying to manage his intoxicated bride on the eve of their wedding or accidentally upending a solemn Civil War play with his trademark slapstick. Also notable are the sequences aboard a boat (Keaton’s real-life yacht), culminating in his heroic rescue of his crew mates. In short,Spite Marriageis good fun, though it unfortunately also marked the beginning of studio interference in Keaton’s work and the restriction of his creative liberty.
Spite Marriage
5’The White Hell of Pitz Palu' (1929)
Directed by Arnold Fanck and G.W. Pabst
“The mountains demand everything. They take everything.“The White Hell of Pitz Paluis a German silent epic abouta trio of climbers—Maria (Leni Riefenstahl), her husband Hans (Ernst Petersen), and the enigmatic Dr. Johannes Krafft (Gustav Diessl)—as they face nature’s wrath during an ill-fated expedition in the Swiss Alps.Stunning location cinematography is at a premium here, amplifying the themes of loss, camaraderie, and perseverance.
The movie was well-received upon release, though it’s probably best remembered now for having been referenced inInglourious Basterds(Michael Fassbender’s Archic Hicoxclaims to have acted in it). Still,The White Hell of Pitz Paluis one of the better examples of the short-lived mountain film genre. It’s especially thrilling to watch these actors perform their stunts in a setting free from trick photography or modern effects. Theirs is a painstaking voyage across peaks and precipices, with the threat of avalanches always looming.
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4’Blackmail' (1929)
Directed by Alfred Hitchcock
“You know, I’ve always been fond of you.” Often cited as Britain’s first talkie,Alfred Hitchcock’sBlackmailfollowsAlice White (Anny Ondra), a young woman who kills a man in self-defense after he attempts to assault her. As she struggles to cover up her involvement, Alice becomes the target of a blackmailer who knows the truth.This movie is textbook Hitchcock stuff, and the Master of Suspense plays it for maximal tension, imbuing everything with his signature style.
The director also gets technically inventive here, playing with the use of synchronized sound, most notably in the repetition of the word “knife,” which mirrors Alice’s mounting anxiety. The visually arresting, dialogue-free opening sequence is also memorable. The standout scene, however, is the climax, set in and around the British Museum. Taken together, these elementsmakeBlackmailahead of its time and miles above most other thrillers of its day.
3’Woman in the Moon' (1929)
Directed by Fritz Lang
“The Moon, the silver treasure of the skies, holds secrets beyond imagination.“Woman in the Moonis apioneering and defining sci-fi movieby the icon of German expressionism,Fritz Lang. It’s about explorers who journey to the Moon in search of gold, uncovering not only scientific wonders but also interpersonal conflicts. The visuals look quaint now but were groundbreaking for the time. In particular,Lang’s depiction of rocket technology has been praisedfor its surprising accuracy.
The director balances the sci-fi whimsy and striking visuals with a hefty dose of human drama, including schemers, attempted hijackings, thwarted ambition, and a messy love triangle. The themes around scientific adventure are handled well, too, and feel like a comment on Lang’s technical experimentation with this and other films. In this regard,The Woman in the Moonmakes for a neat companion piece to Lang’s other sci-fi classic,Metropolis.
2’Un Chien Andalou' (1929)
Directed by Luis Buñuel
“Once upon a time…” A classic of surreal cinema,Un Chien Andalouis a trippy short film that represents the meeting of the minds between quirky legendsLuis BuñuelandSalvador Dalí. It opens with its infamous scene of an eyeball being sliced open and continues in this vein, serving up a series of dreamlike (and often disturbing) vignettes. This disjointed sequence of events, laden with abstract symbolism, is designed to provoke emotional and intellectual reactions.
Un Chien Andalouoscillates between the sublimeand the shocking. The impressive special effects, intricate makeup, and audaciously bizarre activities were unlike anything else in cinema at the time. One might not be able to extract any lasting meaning from it, but one can at least appreciate its hallucinatory daring.Buñuel himself later describedthe movie as “a desperate, impassioned call for murder.” He was even a little disappointed that most critics embraced the film rather than recoil from it in disgust.
Un Chien Andalou
1’Pandora’s Box' (1929)
Directed by G.W. Pabst
“I love you, and I will never leave you.” Claiming the top spot on this list is the tragic and sensualPandora’s Box, starringLouise Brooksas Lulu, a captivating yet destructive woman whose beauty and charm lead to her downfall. The movie explores her tumultuous relationships and her journey from a life of decadence to despair, ultimately culminating in a chilling confrontation with Jack the Ripper (Gustav Diessl). The plot was provocative for the time, leading many countries to censor or even ban the film.
Brooks was one ofthe most iconic stars of the silent era, andher magnetic presence elevates the film considerably. DirectorG.W. Pabstknew how to photograph her, making her seem even more vivid and larger-than-life. “I revered Pabst for his truthful picture of this world of pleasure, which let me play Lulu naturally,“Brooks saidof their collaboration. Although mostly dismissed on release,Pandora’s Boxis now considered a classic of ’20s cinema.
