25 Movies Like Drive My Car (2021)

The film opens with Julie in her early twenties, longing to pursue a career in medical school. But after briefly testing the waters, she switches over to psychology, only to drop completely out of school and transform her hobby of photography into a professional career. This indecisiveness carries over in most aspects of her life, including and especially in romance, where impulse and desire drive her to run after what she believes to be love. The movie follows Julie as she navigates adulthood in modern Oslo—at once a specific yet universally relatable story about the growing pains of growing up.

With The Worst Person in the World, Joachim Trier scores again with another life-changing Norwegian drama about longing, love, grief, and finding your place in the world. His films can be quite sad but amidst all the drama, moments of happiness and hope are scattered throughout, as it is in real life.

From Drive My Car director Ryusuke Hamaguchi comes another film featuring long drives, thoughtful talks, and unexpected twists. An anthology of three short stories, Wheel of Fortune and Fantasy ponders over ideas of love, fate, and the all-too-vexing question, “what if?” 

What if you didn’t run away from the one you love? What if you didn’t give in to lust that fateful day? What if, right then and there, you decide to finally forgive?

Big questions, but without sacrificing depth, Hamaguchi does the incredible task of making every single second feel light and meaningful. Wheel of Fortune and Fantasy will leave you with mixed emotions: excited, startled, dejected, hopeful. But one thing you won’t feel is regret over watching this instant classic of a film.

Many films have tried to decipher the indecipherable bond between mothers and daughters. Lady Bird, Everything Everywhere All at Once, and Turning Red, to name a few, center on this particular relationship, which to outsiders may seem strange at best and dysfunctional at worst. How can mothers yell at their daughters one second and coddle them the next? How can daughters treat mothers like their best friend and enemy all at once? 

One of the best films to explore this complexity is Petite Maman, a fantasy-like film that brings together mother and daughter in a unique situation, forcing them both to regard the other in otherwise impossible ways. It succeeds where others haven’t precisely because it accepts that this relationship is beyond dissecting, and the only way to honor it is in the poignant, poetic, and otherworldly way that it does. It’s a quiet film that manages to say a lot, not least of which is that it’s okay to feel and love and hurt as much as one does.

Summer of Soul would already be remarkable if it was just a collection of some of the greatest live performances ever put to film. Boasting a roster that includes Stevie Wonder, Nina Simone, Gladys Knight, and Sly and the Family Stone, the nearly-forgotten 1969 Harlem Cultural Festival featured in the documentary was an all-star catalog of some of the biggest names in popular music, all at pivotal moments in their careers. Seeing them at the height of their powers, in front of a Black audience that meant so much to them, makes for an unexpectedly emotional experience.

But Summer of Soul also expands beyond the actual concert, using the Harlem Cultural Festival to represent a turning point in Black culture and history, especially after the death of Martin Luther King Jr. Through the film's pristine, electric editing and gorgeous archival restoration, music becomes a communal act of mourning, a rallying cry to face the uncertain future, and a celebration of a people and a heritage continuing to fight against erasure and persecution.

This Oscar-nominated drama tells the story of the events leading up to the Srebrenica massacre, in which 8372 Bosnian Muslims were killed. It focuses on one U.N. worker who was caught between trying to protect her family, herself, and helping people in need.

The film is as horrific as it is relevant: up until the actual killing starts, people are constantly being assured that everything is under control and that there is no reason to panic. This gives an eerie feeling of resemblance to the tone many minorities in distress receive nowadays.

Still, Quo Vadis, Aida? stops at depicting any of the acts that were committed that day. Instead, it focuses on Aida’s unrelenting race against the clock to save whatever she can.

The culture of propaganda and cover-ups that kicked off the pandemic is the subject of this compelling documentary by award-winning director Nanfu Wang (One Child Nation). Wang, who traveled with her family to China in January 2020, saw and filmed the pandemic firsthand, and wrote to major newspapers like The New York Times to convince them to write about it. They never did. 

Media and government in both China and the U.S. played down the threat, and this documentary asks how different everything would have gone otherwise. More dauntingly, it's an examination of how the Communist Party in China managed to use the event to its advantage. 

The Hand of God is the autobiographical movie from Paolo Sarrantino, the director of the 2013 masterpiece The Great Beauty. He recently also directed The Young Pope with Jude Law and Youth Paul Dano, both in English. He is back to his home Italy with this one. 

More precisely, he’s in his hometown Naples, in the 1980s, where awkward teenager Fabietto Schisa’s life is about to change: his city’s soccer team Napoli is buying the biggest footballer at the time, Diego Maradona.

Sarrantino, who is also from Naples, made this movie that is half a tribute to the city and half to what it meant growing up around the legend of Maradona.

The Hand of God is to Sarrantino what Roma was to Alfonso Cuarón, except it’s more vulgar, fun, and excessive. It is equally as personal though, and it goes from comedy to tragedy and back with unmatched ease.

Asako is in love with Baku—deeply and almost delusionally, in a way that can only manifest in young love. But when the freewheeling Baku ghosts Asako for good, she moves from Osaka all the way to Tokyo to start a new life. Years later, she's startled to meet Baku's doppelganger in Ryohei, an office man whose solid dependability and lack of artfulness, while endearing, could not place him any further from Baku. Confused and lonely, Asako tiptoes around her feelings for Ryohei and, in the process, raises thought-provoking questions about the meaning, ethics, and true purpose of love.

If Steven Spielberg had just decided to do a straightforward cover version of West Side Story, it still would have been a wonder of music, movement, and color. But more than the lush camerawork and impassioned performances from Rachel Zegler, Mike Faist, and Oscar winner Ariana DeBose, this adaptation is most memorable for its renewed focus on the senselessness of its central turf war. Here, New York City exercises absolute power over the Jets and the Sharks, rendering all this gang violence as a futile attempt to hold on to outdated values in the face of economic desolation. Spielberg might not be able to do much about the story's weaker Romeo and Juliet-inspired parts, but he still finds a way to let this often ridiculed tragic romance serve a greater purpose.

Whether or not you’re familiar with director Pedro Almodóvar’s body of work, Parallel Mother stands as a gorgeous melodrama, a striking story about motherhood and our ties to the past. On one level, it’s a simple but engaging drama about a misunderstanding that ensues between two women. But on another, it’s a deep dive into a nation’s cruel history, as well as an observation of people’s commitment to never letting that part of themselves go. 

The film references Almodóvar’s past films but it also works as a standalone, a perfect starting point for moviegoers interested in exploring his oeuvre. Of course, Penelope Cruz continues to be a powerhouse, each line delivery an emotional gut punch, while relative newcomer Milena Smit is stirring, a true revelation, as her director calls her.