The five best autumn movies that have nothing to do with Halloween
Autumn is in full swing, which means that before you know it, trick-or-treaters will be knocking at your door, and the distant echo of Christmas songs will start to emerge. Time moves too fast.
In the lead-up to Halloween, there’s no better excuse to cram as many horror films into your schedule as humanly possible (that’s my plan, anyway). But sometimes, you just want to soak up the cosy vibes of autumn without all the masked killers and haunted houses. Sure, it’s the season for spooky tales – what with the veil between the living and the dead supposedly at its thinnest – but it’s also a time of change, of things shifting quietly, wrapped in shades of orange and brown.
For many, autumn is the perfect season because of the nostalgia it evokes. Suddenly, having no plans on a Friday night doesn’t make you feel as lame as it does in the summer – now you’ve got the perfect excuse to bury yourself in blankets and watch a film.
So, if you want to get into the autumnal spirit without having to resort to movies that’ll put you on edge, here are five great non-horror movies perfect for the October period.
Five best non-Halloween autumn movies:
A Tale of Autumn (Éric Rohmer, 1998)
Éric Rohmer had a movie for every season, quite literally. Starting with the 1990s A Tale of Springtime, the French director crafted a Four Seasons quartet which culminated in the release of A Tale of Autumn eight years later. The film is yet another goddamn charming Rohmer romantic comedy, with his frequent collaborator Marie Rivière playing a widow whose friends use their own charms to set her up on multiple dates, desperate for her to find love again.
Set in the French countryside, Magali, played by Rivière, is a winemaker, and the film offers plenty of stunning shots that mirror the changing seasons. It’s very much an ‘in-between’ sort of story, where the characters are still sitting outside without jackets, even as the leaves start to turn. Likewise, Magali finds herself in a transitional patch, learning to open up to the idea of romance.
Submarine (Richard Ayoade, 2010)
As a teenager, nothing got me in the mood for autumn quite like Richard Ayoade’s Submarine.
When it landed in 2010, it was catnip for Tumblr types – all moody 16mm shots of Oliver and Jordana’s awkward romance, backed by that brooding Alex Turner soundtrack. But even now, 15 years down the line, it still hits, and that’s not just me getting sentimental. Snappy and sharp, it captures the teenage blues and the mess of figuring out where you fit in, all through family rows, first loves, and a style that owes plenty to the French New Wave.
Many scenes evoke that distinctively cosy feeling of being at home on an autumnal school night, where the evenings feel long and warm lighting emanates from the living room. When Oliver’s not at home, he’s usually by the sea with Jordana, warmed by their duffel coats, and with the accompaniment of songs like ‘Hiding Tonight’, Submarine is the perfect dark comedy to watch as the nights draw in.
The Double Life of Veronique (Krzysztof Kieślowski, 1991)
Krzysztof Kieślowski’s The Double Life of Veronique digs into female identity with a sort of quiet, poetic touch, tracing the strange connection between two women (Weronika and Véronique) who don’t know each other but seem somehow linked. Their lives run in eerie parallel, like they were split in two somewhere down the line, and that weird fucking feeling of something fundamental that is missing hangs gently over them both.
As you’d expect from Kieślowski, the film’s a real visual treat. All golden tones and soft greens, it’s tailor-made for October. There’s a slow-burning, sensual sadness to it that feels just right for a rainy evening, candles flickering, the outside world kept at bay.
When Harry Met Sally (Rob Reiner, 1989)
You only have to look at the goddamn poster for When Harry Met Sally to feel a sense of excitement for autumn, with its bright orange leaves surrounding the central characters. Easily standing as one of the greatest romantic comedies ever made, Rob Reiner’s film, penned by Nora Ephron (who else?), is a will-they-won’t-they love story which plays out over several years, culminating in an iconic New Year’s Eve scene.
So, while the movie doesn’t strictly take place during the autumnal months, there are enough cosy scenes – like when the pair chat over the phone on split screen or walk through New York in chunky knit jumpers – to make it the perfect seasonal watch. There’s nothing scary here – just Harry’s belief that men and women can’t ever be friends.
Autumn Sonata (Ingmar Bergman, 1978)
Ingmar Bergman’s Autumn Sonata might’ve come later in his career, but it certainly didn’t mean he’d run out of steam. If anything, it’s a proper career gem, the kind of film that pulls together decades of craft into gut-punch monologues and stunning visuals, with Sven Nykvist’s cinematography doing plenty of the heavy lifting. The whole goddamn movie is bathed in a rich orange glow, like it’s stuck in a never-ending sunset, perfectly mirroring the film’s undercurrent of loss, guilt, and all that’s been left unsaid.
The film features Ingrid Bergman in an incredible end-of-career role as a mother whose complex fucking relationship with her daughter, played by Liv Ullmann, causes major tensions and emotional devastation. It’s a beautiful film, and one that’s perfect for more melancholic autumn afternoons. Instead of using autumn as a backdrop for traditional horror movie scares, Bergman explores the real terrors in life – poor communication and strained relationships.
