21 Movies Like The Piano Teacher (2001)
Chasing the feel of watching The Piano Teacher ? Here are the movies we recommend you watch after The Piano Teacher (2001).
Persepolis is the true story of Marjane Satrapi, the writer and illustrator whose graphic novels of the same name the film is adapted from. It details in vivid animation the trials of growing up in war-torn Iran, but also, crucially, the joys of being raised by a loving family and the significance of forming one’s own ideals and identity. In between revolving dictatorships and tightening restrictions, Marjane comes into her own and discovers what it means to live a meaningful life.
It’s a testament to Satrapi’s many talents that Persepolis never feels too flat or cynical given its 2D style and bleak backdrop. The drawings impressively morph with Marjane’s every thought, as if the ink itself were alive, and her wit persistently comes through in sharp observations and dialogues. Equally impressive is the film’s commitment to portraying war and conflict in a nuanced manner. In an autobiographical tale that is about Marjane’s coming of age as much as it is about her country’s survival, it’s never been more true that the personal is political.
Mike Leigh’s forthright and compassionate depiction of working-class life extends to his period pieces as well. Imelda Staunton is remarkable as Vera Drake, a housekeeper in 1950’s London who quietly performs abortions on the side.
Leigh’s vigilant portrayal of class highlights the stark divide between abortion access for the poor and what is offered to the rich. The storytelling is simple and straightforward, he doesn’t over-sentimentalize or grandstand, but merely depicts conditions as they were. Meanwhile, Staunton’s Vera oozes so much fullness, warmth, and empathy, that the heartbreak that follows is mercilessly palpable.
A young bisexual woman attends a shiva, caught between her parents and their expectations, her ex, and her sugar daddy. Rachel Sennott’s Danielle is yet to find her path in life and everyone is determined to remind her of that. Taking place almost entirely in real-time, the film’s sharp wit is contrasted with constant anxiety, complemented by Ariel Marx’s horror-like score, full of discordant pizzicato that sounds like every last bit of sanity snapping.
It’s a sex-positive take on 20-something life, treating bisexuality as wholly unremarkable and passing no judgment on Danielle’s sugar daddy income. Its specificities about Jewish customs and traditions are non-exclusionary, while its social claustrophobia is achingly universal. It’s comforting in the way it portrays the social horrors we all face, the feeling that everyone but you has life figured out, and that – ultimately – those who matter will pull through, eventually. One of 2021’s best.
This masterpiece from Norwegian director Joachim Trier is a clear-eyed movie that takes place in one day in the life of a 34-year-old. Anders, a recovering drug addict, gets to leave his rehab facility for the first time to take a job interview. He visits friends, tries to meet his ex, and goes to the interview. With every interaction, you get to know him more and understand that what he's going through is shared with everyone he meets. At 34, Anders feels it is too late to turn his life around, and so do his friends. He just happens to be a drug addict.
Wendy (Michelle Williams) is a drifter driving up to Alaska in hopes of finding work. When her car breaks down, she and her dog Lucy are stranded and forced to scrounge for food and repairs, hitting one roadblock after another on her path to an uncertain dream. This sympathetic and solemn look at poverty from director Kelly Reichardt serves as a reminder of how easy it is to fall through the fragile American safety net.
Reichardt’s uncompromising approach paired with Williams’s restrained performance makes the experience authentic and intense, recalling the work of Ken Loach. This natural sharpness makes for an engrossing watch that builds in power until the emotional release of the film’s heartbreaking conclusion.
Like Someone in Love is a Japanese drama about identity and finding comfort. It tells the story of a young woman, Akiko, who leads two different lives, one she shares with her family and another which few know about. The movie opens in a restaurant where Akiko is hanging out with her friend, just as a man is trying to get her to leave, insisting that there is a really important “customer” she has to meet. Long taxi rides and Tokyo neon lights will accompany you as the story unfolds. One of the movie’s most evocative sequences involves Akiko seated in the backseat of a cab, listening to her grandmother's voicemails. Using very little dialogue, Like Someone in Love is a simple movie that captures loneliness, regret, and sorrow brilliantly as it depicts a woman and a man who are only trying to give and receive comfort from each other.
Tilda Swinton stars in this gorgeous Italian production by Luca Guadagnino, part of the director’s “Desire Trilogy”, together with Call Me By Your Name and A Bigger Splash.
Swinton learned to speak Italian and some Russian for the movie, where she plays - to absolute perfection - the wife of a Milan textile mogul who starts having an affair with a cook.
It’s an elegant family drama that’s definitely more concerned with aesthetics than substance, but the setting in snowy Northern Italy and lush 35mm film make that very easy to look past.
The Promise has all the trappings of a sleazy crime drama, but there's a sense of innocence buried underneath all the dirt that helps set it apart. Even as Igor helps his father do the shadiest things to exploit the illegal immigrants under their care, you can see the boy slowly wake up to the realization that life can't just be a series of transactions, rewards, and punishments. As writers and directors, the Dardenne brothers present Igor's coming of age with frankness and without pretension—even when a hint of the mystical begins to compel him to tell the truth. It might not seem all that complex at first, but the details that make up this world are fully immersive from start to finish.
French megastar Isabelle Huppert plays a passionate philosophy teacher this observant, dialogue-heavy drama. Once driven by her ideas and reflections on life, Nathalie's life is now reduced to taking care of others: a demanding mother, standoffish husband, a high-school in which politics have taken over, and a decaying publishing house that makes her pay for copies of a book she once wrote. But an event involving her husband is an invitation for Nathalie to step out of the mundane and rekindle with her past self. If you like quiet character studies, you will love Things to Come.