A good road trip is one of the most cinematic experiences that a person can have in real life. Different cities and landscapes blur together as scenery flies by your windows and day gradually turns into night. The car can begin to feel like an isolated bubble where nothing matters except the people inside. Whether you’re laughing and singing with friends, fighting with your family, or simply letting your thoughts settle while you drive solo, road trips seem to stop time and create distinct memories that can be revisited over and over again.
So it’s not surprising that filmmakers have been inspired by road trips for as long as there have been movies. From the titans of the Old Hollywood studio system to international arthouse auteurs and contemporary independent directors, virtually every great filmmaker has tried their hand at a road trip movie at one point or another. Locations and genres can change, but the motif of people going from one place to another in a car is one of the building blocks of the international language of cinema.
Road trip movies are versatile enough to encompass a wide variety of subject matter, but they often fall into two genres: comedies and contemplative dramas. The road trip comedy is a Hollywood standard because its built-in structure (characters need to get somewhere in a finite amount of time and are stuck together in a small space) lends itself to endless funny scenarios. From disgruntled fathers driving their badly-behaved children to strangers who fall in love after being forced to travel together, cars serve as confined spaces that allow a variety of relationships to flourish. On the other end of the spectrum, you have dramas from auteurs like Wim Wenders and Ingmar Bergman that see the road as a place for humans to think. Those films prioritize the destination much less than the self-discovery that can take place when you’re not in any particular rush to get somewhere.
The road trip movie has endured for over a century, and its timeless appeal means that it’s unlikely to disappear any time soon. Keep reading for ten of our favorites, listed in chronological order.
-
“It Happened One Night” (1934)
Image Credit: Courtesy Everett Collection What It Is: The archetypal Hollywood romantic comedy, Frank Capra’s “It Happened One Night” stars Claudette Colbert as pampered socialite Ellie, who boards a Greyhound bus from Florida to New York City to reunite with her new husband, pilot King Westley (Jameson Thomas), after her father attempts to annul the marriage. Unused to fending for herself, she ends up relying on the help of sarcastic newspaper reporter Peter (Clark Gable) to make the journey, despite despising his personality. At least at first — hitchhiking adventures and stays in motels quickly cause sparks to fly between the mismatched pair.
Perfect For: Couples looking for date night films, “Looney Tunes” fans who want to watch the Gable performance that inspired Bugs Bunny, and lovers of pretty much every romantic comedy made in the last nine decades. —WC
-
“Wild Strawberries” (1957)
Image Credit: Courtesy Everett Collection What It Is: Not exactly the fun road trip romp the genre usually promises, “Wild Strawberries” uses a long car ride as the backdrop for a surreal exploration of aging, loneliness, and death. Ingmar Bergman’s film stars Victor Sjöström as cold-hearted professor Isak Borg, who is set to receive a lifetime achievement award for his career in bacteriology. On the drive to the university where the ceremony will take place, he’s accompanied by his pregnant daughter-in-law Marianne (Ingrid Thulin) and a group of young hitchhikers — one of whom is a double in looks and name for his childhood sweetheart Sara (played by Bibi Andersson). Over the course of the trip, Isak slowly warms to his younger companions, and experiences a series of flashbacks and dreams that forces him to confront the impending end of his life and his many regrets from his empty existence.
Perfect For: Existential types, dying old men, and those whose only exposure to Bergman’s films are the HBO “Scenes From a Marriage” remake and the chess scene from “Seventh Seal.” —WC
-
“Easy Rider” (1969)
Image Credit: Courtesy Everett Collection What It Is: A counterculture classic, Dennis Hopper’s “Easy Rider” stars the director and Peter Fonda as two drug-smuggling motorcyclists on a journey from Los Angeles to New Orleans, where they’re hoping to celebrate Mardi Gras. Along the road, they encounter a colorful cast of hippies, free love commune residents, addicts, prostitutes, and other outsiders. Their free-wheeling adventures are contrasted by the judgment they face from small town types and law enforcement looking to lock them up.
Perfect For: Rebels, stoners, general miscreants everywhere, and fans of the iconic rock bands like The Byrds, The Jimi Hendrix Experience, and Steppenwolf that soundtrack the film. —WC
-
“Two-Lane Blacktop” (1971)
Image Credit: Courtesy Everett Collection What It Is: “Two Lane Blacktop” is so clearly a product of its time that we could never hope to reverse engineer it. But when watched in 2023, it’s a fascinating countercultural artifact and a remnant of a film industry that now looks completely unrecognizable. Monte Hellman’s portrait of youthful angst and the freedom of the open road stars James Taylor and Beach Boys drummer Dennis Wilson as speed-obsessed drifters whose encounter with a mysterious driver named GTO prompts them to embark on a cross-country race.
Who It’s For: Anyone with a need for speed and pop culture geeks who enjoy seeing famous non-actors trying to act. —CZ
-
“Paris, Texas” (1984)
Image Credit: ©20thCentFox/Courtesy Everett Collection What It Is: After making a name for himself in the German arthouse scene with his Road Movie Trilogy consisting of “Alice in the Cities,” “The Wrong Move,” and “Kings of the Road,” Wim Wenders brought his brand of contemplative cinema to America and made his magnum opus. “Paris, Texas” tells the story of a broken man (Harry Dean Stanton) wandering through the desert before his brother finds him and convinces him to reconnect with the family he walked out on. Wenders continued to find poetry in the loneliness of the road, and the desolate American scenery and Stanton’s heartbreakingly expressive face ended up being the best muses of his career.
Perfect For: Fans of slow cinema and anyone looking to brush up on the 20th century’s most impressive works of filmmaking. —CZ
-
“Pee-Wee’s Big Adventure” (1985)
Image Credit: ©Warner Bros/Courtesy Everett Collection What It Is: After developing a cult following from his stage show at the Roxy, Paul Reubens brought his comedic persona known as Pee-Wee Herman to the big screen in a whimsical road trip comedy directed by a young animator named Tim Burton. The film sees the idiosyncratic man-child traveling across the country to recover his stolen bike — and using his charm and joie de vivre to defuse conflicts with all of the shady characters he meets along the way.
Perfect for: Loners, rebels, and anyone who wants to revisit the work of a comedic genius at the height of his powers. —CZ
-
“Planes, Trains, and Automobiles” (1987)
Image Credit: ©Paramount/Courtesy Everett Collection What It Is: John Hughes’ holiday classic stars Steve Martin and John Candy as a mismatched pair of travelers who team up to make it home to Chicago for Thanksgiving. Martin’s suave ad executive constantly clashes with Candy’s bumbling shower curtain ring salesman as their cursed trip leads them onto — you guessed it — planes, trains, and automobiles in an attempt to get home before the holiday ends. Utterly ridiculous until it gets touching, the film is one of the strongest entries in the seemingly endless string of hits that Hughes churned out in the 1980s.
Perfect For: Families at Thanksgiving and anyone on a delayed flight who wants to remember that things could be so much worse. —CZ
-
“Thelma & Louise” (1991)
Image Credit: ©MGM/courtesy Everett / Everett Collection What It Is: Ridley Scott and screenwriter Callie Khouri flipped the script on the conventional gender roles of the buddy comedy genre, opting to tell a story about two women having a blast while running from the law. Susan Sarandon and Geena Davis give career-best performances as the eponymous duo — and both picked up well-derved Oscar nominations for Best Actress. The film is best remembered for its shockingly bold ending, but stands out as one of the 20th century’s most vibrant portrayals of friendship and the highways of America.
Who It’s For: Ridley Scott completionists, feminist film scholars, and anyone in the mood for a great time. —CZ
-
“The Straight Story” (David Lynch, 1999)
Image Credit: ©Buena Vista Pictures/Courtesy Everett Collection What It Is: Perhaps the biggest anomaly in David Lynch’s filmography, “The Straight Story” saw the beloved auteur shifting away from surrealism to tell a G-rated story of a man who travels the country on a riding lawnmower. While the Disney movie doesn’t feature any of the twisted nightmares that define many of Lynch’s best works, it’s filled with the wholesome Americana imagery that appears throughout his filmography. The film is a reminder that for all of his signature stylistic flourishes, Lynch is a filmmaker whose grasp of the fundamentals allow him to tell compelling stories without hiding behind bells and whistles.
Perfect for: Anyone whose favorite parts of “Twin Peaks” were the wholesome small town antics. —CZ
-
“Little Miss Sunshine” (2006)
Image Credit: ©Fox Searchlight/Courtesy Everett Collection What It Is: One of the most darkly amusing road trip comedies in recent memory follows the plight of a dysfunctional family who takes an 800-mile road trip to support their daughter’s entry in the Little Miss Sunshine beauty pageant. Piling into a van that’s breaking down almost as rapidly as the familial ties that bind them, they find themselves confronting their delusional dreams and long-simmering resentments (and a horn that never stops honking). While “Little Miss Sunshine” is a classic example of the “Sundance road trip movie” trope that’s often maligned in indie film circles, there’s no denying that it’s one of the best entries in the subgenre.
Perfect For: Anyone who is beginning to question their belief that child beauty pageants are an unambiguous societal good. —CZ