Here are Cinephile Corner’s 10 recommendations for movies like Emilia Pérez:
Joker: Folie à Deux
Regardless of how you feel about Joker, Todd Phillips‘ blockbuster film was a striking reinvention of the superhero genre when it debuted in 2019. It was received with a level of reverence rarely granted to superhero films, winning the Golden Lion at the Venice Film Festival and becoming a major contender during awards season. What set Joker apart was its grounded, almost claustrophobic atmosphere, which felt far removed from the usual bombastic superhero fare. It was a character study, not a franchise entry, and it didn’t suggest a larger universe or an inevitable sequel. This sense of finality and self-containment made it feel like a singular, daring vision—one that didn’t need anything more, which is what makes Joker: Folie à Deux such an odd and ill-conceived idea.
Better Man
At the heart of any biopic lies the audience’s connection to its subject. A film’s success often hinges on how it portrays someone viewers either revere or know little about. I’ve been burned by disappointing depictions of beloved figures and pleasantly surprised by movies that delve deeply into lives I had barely explored. Better Man falls mostly into the latter category, telling the story of Robbie Williams—a member of Take That—charting his rise, struggles, and personal journey. As someone unfamiliar with Williams beyond name recognition, the film offered a compelling introduction, even if it occasionally stumbles over well-worn biopic tropes.
Wonka
In a surprising turn of events, Wonka emerges as one of the standout success stories of 2023, defying initial skepticism surrounding its release. Helmed by director Paul King and starring Timothée Chalamet, this imaginative take on the world of Willy Wonka offers a refreshing and delightful experience that captivates audiences from the opening title sequence to the end.
Magnolia
Magnolia might feel a bit like the film that got away from Paul Thomas Anderson (because it kinda is), but it’s the sort of big-budget passion project that up-and-coming filmmakers rarely get to make nowadays. The ensemble cast of Magnolia is littered with A-listers and common Paul Thomas Anderson players, from Julianne Moore and Philip Seymour Hoffman to Tom Cruise and John C. Reilly, each actor adds their own weight to this shotgun blast of characters.
Mean Girls
Mean Girls doesn’t cover enough new ground to warrant the movie’s existence. The music is surprisingly fresh, and the performances are often the best aspects, but it’s a copy-and-paste concept executed to marginally acceptable results. Tina Fey relies heavily on the original material to render the movie passable.
A Complete Unknown
As a Minnesotan, I feel almost obligated to enjoy A Complete Unknown, the movie that chronicles Bob Dylan’s rise to stardom while exploring his strained relationship with music and the people who helped shape his career. Dylan is undeniably one of the most famous musicians of all time—and certainly one of the most iconic figures to emerge from the land of 10,000 lakes.
Babylon
Damien Chazelle announces himself as the antichrist with Babylon – a film focused on the fake it til you make it side of the industry, and Chazelle might just be faking it after all. I’ll be tossing and turning in my head for months about whether he deserves the ending that he presents, because he’s having his cake and eating it to with that final montage, but at least along the way he also throws it up and laughs at you for thinking he’d do anything else. I love it.
Wicked
Monetarily speaking, Wicked is shaping up to be the movie sensation of the fall. Each year, a few family-friendly blockbusters dominate the holiday season box office, drawing in swarms of extended families and raking in massive earnings. In 2024, Wicked is one such standout, serving as a prequel to The Wizard of Oz and kicking off a two-part franchise. The film explores the origins of the Wicked Witch of the West, framed through the eyes of her closest classmate from years prior.
Elvis
Despite stylizing the hell out of his newest movie, Baz Luhrmann’s Elvis is a colossal misfire that seems off from the jump. Told through the eyes of his manager, Elvis feels more like airing out dirty laundry than it does an honest biopic.
Back to Black
Back to Black is mostly a misfire, and I lack the understanding for why it exists in the first place. Maybe to boost Amy Winehouse’s Spotify streams for a few months. But given that the movie failed to make a splash at the box office, and didn’t even see much of an extended run in theaters at all, I’d venture to guess that it didn’t even do that right.
READ MORE: Emilia Pérez (2024)