The Best Summertime Films: Cinematic Escapades & Feel-Good Vibes

Summer. For many, it’s our break, an opportunity given to us to cut loose and immerse ourselves in the festivities of life and happiness. However, what many often forget is that it’s more than just a time for fun. Summertime is when memories are forged out of once-in-a-lifetime experiences and stored in our brain bank indefinitely. Summer is a time of endless possibilities, which ultimately lead to occurrences we never could have imagined but soon find ourselves unable to live without

As lovers of film, sometimes our favorite memories stem from a cinematic escapade. Even if we didn’t actually view it for the first time in the summer, it’s hard to deny the impact many of these films have had on our lives. Here are ten of the best summer-set films that have given us plenty of feel-good vibes when we needed them most or took us on journeys that we’d never forget.

Before we dive in, some summertime honorable mentions that are just as memorable as the following eight are: Do The Right Thing (1989), Y Tu Mamá También (2001), Under the Silver Lake (2018), and The Virgin Suicides (1999).

American Honey (Andrea Arnold, 2016)

Andrea Arnold‘s indulgent framework of modern America is widely criticized for being overly long (clocking in at a whopping 163 minutes) but I think that’s exactly what makes it such a raw and honest portrayal of coming-of-age in a world where everyone is struggling to find themselves. Arnold tackles many themes with the help of two incredible performances from Sasha Lane and Shia LaBeouf at her disposal, and her authentic eye for catching the small details makes for a beautiful cinematic lens.

One of the film’s most iconic scenes comes early on, where Lane and LaBeouf‘s characters meet in a grocery store while the former dances to Rihanna‘s “We Found Love.” That song acts as an allegory for the film’s themes, namely the lyrics referring to a “hopeless place” (which can be attributed to America). American Honey is many things all at once: a journey rife with adventure, a peaceful examination of souls in chaos, and most of all, a story of finding love in a land where happiness seems to only come in short bursts.

The Beach Bum (Harmony Korine, 2019)

Harmony Korine isn’t here to pander to the mainstream. The infamous director of Spring Breakers and Gummo made a splash earlier this year with this Matthew McConaughey-fronted joyride that traverses the highs and lows of hedonism in the Florida Keys. Shown through the lens of Moondog, a rebellious stoner and poet, The Beach Bum is either a UTI masterpiece or a bland, pointless comedy depending on who you ask. However, sometimes film doesn’t have to have a purpose. Sometimes all you need is a good time, and that’s exactly what Korine and Co. deliver.

This hallucinatory adventure jumps from scene to scene without a noticeable sense of cohesiveness, but maybe that’s just Korine‘s way of juxtaposing our own hypocrisy when it comes to genre conventions. Think about it: we’re always complaining about how films should be more fun and then when they are, we criticize them for a lack of plot. It’s films like this that are just straight-up enjoyable on their own merit, a wild, neon-laden journey from start to finish that still manages to land some incredible emotional blows.

Before Sunrise (Richard Linklater, 1995)

Richard Linklater‘s 1995 film begins on a train bound for Vienna, where Celine (Julie Delpy) and Jesse (Ethan Hawke) strike up a conversation before impulsively making the decision to spend a day together. Despite their time constraints (the latter must fly back to the U.S. in the morning), the two young lovers make the most of their few hours together, debating weighty philosophical themes and questions as they walk throughout the city. Linklater‘s direction is assured; confident in its storytelling, but it’s not entirely unfair to make the claim that this film would be nothing without Hawke and Delpy‘s electric chemistry.

Their momentum is what keeps the film going smooth, and the luscious colors of Vienna prove a mesmerizing backdrop for their deeply intellectual conversations. It all leads up to that inevitable ending, as the two depart, unsure if they’ll ever see each other again. But unlike other films that allow fate to decide the outcome of their protagonists’ journeys, this one embraces the opportunity of spontaneity, basking in the present time. Sure, it allows viewers to question the probability of Jesse and Celine reuniting, but ultimately seems to advise against it.

Call Me By Your Name (Luca Guadagnino, 2017)

Call Me By Your Name is the definition of beautiful. Its style packs heat, with picturesque landscapes and lush colors, but Luca Guadagnino‘s 2017 coming-of-age story also strikes a tonal balance between the dreamlike happiness and the hazy melancholy that Timothée Chalamet‘s Elio basks in. It’s not until he meets Armie Hamer‘s Oliver that those two tones drift further together and serve as a distinguishable whole arc instead of two separate ones.

Guadagnino takes his sweet time painting this portrait, gracefully panning between northern Italian villas and weaving the story with his hands at the loom. The romance that blossoms between its two protagonists is one of the most immersive and emotionally investing in years, and that gut-punch of an ending only strengthens the undeniable legacy this movie has attained and will continue to build over the next few years. A true modern classic, for sure.

The Florida Project (Sean Baker, 2017)

Sean Baker‘s bright portrait of childhood whimsy seems innocent on the surface, but the misadventures of 6-year-old Moonee and her friends soon give light into a heart-wrenchingly realistic look at life for those often pushed aside by those in luckier financial situations. Brooklynn Prince‘s performance as Moonee is equally enthusiastic as it is poignant and especially strong for her age. But more than anything, The Florida Project is a story about finding your identity in a world where maturity is hidden but always made to seem like a given.

For the children, accidentally burning down an abandoned house or causing a blackout in their motel complex isn’t anything much, but despite the fact that their behavior is consistently reprimanded, there’s no real punishment. It’s not until that excellent third act that everything comes crashing down. Should we be surprised, though? Not really; the ending is right in front of the audience all along…only if they choose to deny the realism of the film will they be shocked.

Ingrid Goes West (Matt Spicer, 2017)

Rarely are there films that put so much emphasis on how terrifying the real world is. Matt Spicer‘s Ingrid Goes West is one of the most gripping portrayals of mental illness ever put to screen thanks to a committed performance from Aubrey Plaza, who’s so grounded in her role as the titular character that it’s hard to believe you’re watching a caricature.

Ingrid is someone the audience can feel for and get behind as a result of our emotional connection to her world, one where you’re either the influenced or the influencer. Even if we never admit it, everyone has always felt some twinge of longing for acceptance at least once in their lives, and it doesn’t help that Elizabeth Olsen‘s Taylor is the complete embodiment of every social media persona we’ve always wanted to be, ones whose lifestyles have repercussions that we can’t see, or at least won’t.

Jaws (Steven Spielberg, 1975)

For many, Jaws is the ultimate summertime movie. The first film to earn $100 million at the box office, Steven Spielberg‘s nautical odyssey is widely considered the first blockbuster. This simple story of a trio of men–a police chief, an oceanographer, and a shark hunter, who set out to hunt down and kill a menacing great white–still holds up as a true classic in cinema, a staple in modern culture. While Alfred Hitchc*ck‘s Psycho made people afraid to take a shower, Jaws stripped away humanity’s right to take one step into the water without immediately retreating to their beach towel and picking up a book instead.

It’s no surprise that Spielberg‘s oceanic epic stands the test of time thanks to its gritty, horrific imagery and bone-chilling John Williams score that never fails to send shivers up viewers’ spines. But it’s also a terrific summer flick, filled with sunshine and vast open ocean. The fact that one of its most prominent setpieces takes place on the 4th of July is even more reason to call this one of the best summer joyrides…even if there’s not much joy to be found under the ocean’s surface.

Moonrise Kingdom (Wes Anderson, 2012)

Every once in a great long while, a film will come along and allow you to remember why you fell in love with the medium in the first place. Moonrise Kingdom, directed to perfection by Wes Anderson, is surely worthy of that description. Anderson is, without a doubt, an accomplished director, but Moonrise proves that he shows no sign of stopping. This tale of young love set against the backdrop of New Penzance, a fictional island off the coast of New England, is packed with Anderson‘s signature style, almost to the point of a sensory overload of sorts, but that doesn’t mean it isn’t lacking in narrative originality and cohesiveness.

The shenanigans that ensue over the course of New Penzance’s summer of 1965 are both hilarious and heartwarming, a testament to when the line between maturity and naivety is blurred as a result of negligence on behalf of the parents who choose to take pride in the mundane instead of taking care of their children and showing them the world through multiple sets of eyes.

How has summer influenced your love for film? What are three of your favorite summertime movies? Share your thoughts and picks in the comments!