The 25 best romance films of the 1990s

Before Sunrise (1995)

In Richard Linklater's gentle drama, two strangers (Ethan Hawke and Julie Delpy) embark on a spontaneous daylong date through Vienna. There's essentially no plot, as the film simply consists of thoughtful conversations between two charming performers basking in the beauty of Austria's capital city. The true anchor of Before Sunrise is the central romance, which always seems organic as dialogue gracefully pivots from parenting to sex to spirituality without ever feeling forced. Delpy and Hawke have effortless chemistry, a lot of which hinges on their ability to naturally smile and laugh at one another — it makes their relationship feel uniquely lifelike and genuine in a way few films have ever captured (and the two following films in the Before trilogy do it just as well).

If you liked Before Sunrise, you might also enjoy: Before Sunset (2004).

Jerry Maguire (1996)

Cameron Crowe's dramedy takes place in the dizzying world of sports management, where one agent (Tom Cruise) takes a more personable approach to his clients and falls in love with a single mother (Renée Zellweger). Though the film contains a lot of larger-than-life elements — cheeky narration, multimillion-dollar sports contracts, and Cuba Gooding Jr., to name a few — it ultimately feels more like an honest, down-to-earth character study than a typical Hollywood crowd-pleaser.

Jerry Maguire's most powerful conflict is a quietly rocky romance rooted in miscommunications and unfair expectations rather than big fights and external problems. Crowe fills his snappy screenplay with fascinating characters and dynamic dialogue — and introduced its fair share of quotable one-liners into the popular lexicon.

If you liked Jerry Maguire, you might also enjoy: Say Anything... (1989).

The Bridges of Madison County (1995)

Based on Robert James Waller's novel, Clint Eastwood's bittersweet film chronicles a brief affair between an Italian housewife (Meryl Streep) and a National Geographic photographer (Eastwood) in rural Iowa. The characters' connection is immediate and overwhelming thanks to the actors' impeccable body language — Eastwood delivers one of his most emotional, charming performances to match Streep's consistent gravitas. The Bridges of Madison County finds profundity in everyday simplicity, meditating on passion, loyalty, and dreams with a quiet tenderness.

If you liked The Bridges of Madison County, you might also enjoy: Out of Africa (1985).

Chungking Express (1994)

Despite its glimpses into Hong Kong's criminal underbelly, Wong Kar-wai's bifurcated romantic comedy is his most lighthearted project to date. In the first of two connected stories, a police officer (Takeshi Kaneshiro) reels from a breakup and connects with a woman (Brigitte Lin) with ties to organized crime. In the second story, a snack bar worker (Faye Wong) falls in love with another police officer (Tony Leung Chiu-wai) as she inadvertently gains access to his apartment. Both sides of the film imbue ordinary objects with enormous personal purpose, as the characters' possessions play significant symbolic roles in their emotional journeys. Like many of Wong's films, it's a gentle story full of unspoken yearning, sumptuous visuals, and charismatic performances.

If you liked Chungking Express, you might also enjoy: In the Mood for Love (2000).

Mississippi Masala (1991)

Mira Nair's swoon-worthy drama tracks the romance between Mina (Sarita Choudhury), an Indian American motel employee who grew up in Uganda, and Demetrius (Denzel Washington), a carpet cleaner born and raised in Mississippi. Choudhury and Washington share crackling chemistry despite their characters' quietness — their connection quickly solidifies through longing glances and expressive gestures that tell you more than mere words could communicate. The film explores the familial pressures that hinder both characters' independence, highlighting how complicated cultural prejudices can interrupt individual relationships. It's also a poignant meditation on the places and spaces that make us feel at home, presenting ordinary locations with warm lighting and bright color to maximize their comfort and beauty.

If you liked Mississippi Masala, you might also enjoy: The Big Sick (2016).

But I'm a Cheerleader (1999)

Jamie Babbit's queer coming-of-age comedy sends its teenage protagonist (Natasha Lyonne) to a conversion therapy camp, where she undergoes ridiculous processes to "cure" her of suspected lesbianism. Over the course of her stay, she forms a bond with a fellow camper (Clea DuVall) and comes to terms with her identity. With a vivid color palette and a cartoonish tone, the film's style is charmingly over the top, but Lyonne grounds the movie with genuine emotion. By earnestly approaching the heightened material, she finds universality in its subject, skillfully embodying confusion, fear, angst, and passion without ever seeming out of place in the film's bizarre world. It's a hilarious satire on paper, and Lyonne makes it sweet.

If you liked But I'm a Cheerleader, you might also enjoy: Itty Bitty Titty Committee (2007).

One Fine Day (1996)

Over the course of one day, two struggling single parents (Michelle Pfeiffer and George Clooney) must endure the relentless pace of New York City to save their jobs and their kids — and almost everything that can go wrong does go wrong. In addition to boasting natural character arcs and witty dialogue, One Fine Day's screenplay provides masterful logistical support — each tiny detail blossoms into an important plot point, and every wild event has enough build-up and rationale to feel completely believable. The lead couple has excellent chemistry, but the real focus is on the parent-child relationships. Alex D. Linz and Mae Whitman give amazing performances that make their characters seem like real kids, which is vital to the success of the movie, as they're simultaneously antagonists, wingmen, and the MacGuffins that drive the story.

If you liked One Fine Day, you might also enjoy: The Holiday (2006).

Grosse Pointe Blank (1997)

When a job brings him back to his Michigan hometown, John Cusack's Martin Blank — a reluctant hitman who feels like he'd fit right in with HBO's Barry or the John Wick universe — confronts his past at his 10-year high school reunion, where he reconnects with his former sweetheart (Minnie Driver). Grosse Pointe Blank is a spiritual successor to the John Hughes high school movies of the '80s that embrace nostalgia for their strengths — ridiculous romantic longing, wacky side characters, a killer pop soundtrack — while acknowledging that most of the personalities that populated them are awful people. The film paints its privileged Midwesterners as selfish, rude people with little regard for their parents or peers, and gleefully destroys their pristine suburban world in kinetic action sequences, culminating in a brilliant black comedy with a genuinely charming romance at its heart.

If you liked Grosse Pointe Blank, you might also enjoy: Kiss Kiss Bang Bang (2005).

Dilwale Dulhania Le Jayenge (1995)

In this lovely Bollywood musical, non-resident Indian Londoners Raj (Shah Rukh Khan) and Simran (Kajol) fall in love while traveling through Europe. The only problem: Simran has been arranged to marry the son of her father's friend, so Raj must disrupt the festivities to cancel the engagement. The leads are incredibly charismatic, and each musical number is exuberant thanks to excellent choreography and catchy songs. Though it's an unceasingly fun movie to watch, it's also remarkably thoughtful, exploring intergenerational tensions and the ways that values can shift as young people become more detached from their parents' original homeland.

If you liked Dilwale Dulhania Le Jayenge, you might also enjoy: Kal Ho Naa Ho (2003).

Notting Hill (1999)

A travel bookstore owner (Hugh Grant) stumbles into a relationship with a world-famous movie star (Julia Roberts) in this beloved rom-com. In a decade full of excellent romantic comedies, Notting Hill stands out from the rest because it unites two of the genre's best actors and gives them ample opportunities to do what they do best. Grant balances stammering awkwardness and self-deprecation with charm and warmth, while Roberts blends steely, intimidating resolve with down-to-earth levity and emotional vulnerability. Despite the ludicrousness of the premise, the actors make their relationship feel as real as the butterflies in viewers' stomachs.

If you liked Notting Hill, you might also enjoy: Four Weddings and a Funeral (1994).

Titanic (1997)

James Cameron's unforgettable epic combines sweeping, old-fashioned romantic melodrama with action-packed spectacle, alternating between exhilarating disaster sequences and moving character work. We see the tragic sinking unfold from the perspective of its pair of star-crossed lovers, Rose (Kate Winslet) and Jack (Leonardo DiCaprio), as they navigate the classism separating their communities before they all plunge into the Atlantic. It leaves you with an overwhelming sense of bittersweetness that few pieces of entertainment ever capture — a unique feeling that more than explains Titanic's enduring success.

If you liked Titanic, you might also enjoy: An Affair to Remember (1957).

The Wedding Banquet (1993)

Ang Lee's second film follows a gay Taiwanese man living in New York (Winston Chao) who marries a Chinese woman (May Chin) so that she can get a green card — and so that his conservative parents (Gua Ah-leh and Sihung Lung) don't find out the truth about his sexuality. It's a fascinating film that fuses comedy with relationship melodrama to explore intergenerational conflicts between immigrants and their parents. Every character is memorable, and the interpersonal dynamics between the protagonist, his boyfriend (Mitchell Lichtenstein), his wife, and his parents constantly evolve, leading to a surprisingly hopeful conclusion.

If you liked The Wedding Banquet, you might also enjoy: Pushing Hands (1991).

You've Got Mail (1998)

Nora Ephron's loose remake of The Shop Around the Corner pits a mom-and-pop bookstore owner (Meg Ryan) against the head of a corporation (Tom Hanks) who threatens to put her out of business as they unwittingly flirt via anonymous online exchanges. Their long-winded digital love letters provide a cinematic vessel for Ephron's witty, poetic observations about contemporary life in New York City, as the characters monologue about their pet peeves, woes, and victories in the chatroom. Ryan and Hanks are perhaps the strongest rom-com actor pairing of the '90s (see also Sleepless in Seattle and Joe Versus the Volcano), creating an electric love-hate chemistry that toes the line between old-school screwball sensibilities and modern believability. Even though Hanks' character in You've Got Mail is a manipulative monster on paper, the actor is so charming that he makes Joe Fox likable despite his actions.

If you liked You've Got Mail, you might also enjoy: When Harry Met Sally (1989).

Love Jones (1997)

In Theodore Witcher's sole directorial feature, a poet (Larenz Tate) and a photographer (Nia Long) develop a complicated romance in Chicago. The film takes an unusually realistic approach to its depiction of the central relationship — organic, unglamorous conflicts arise as the characters quietly test each other and make substantial mistakes in their pursuit of a lasting relationship. At the same time, given the characters' occupations, it's no surprise that Love Jones is exquisitely crafted from an artistic standpoint, with smart dialogue and warm cinematography to complement the actors' natural performances.

If you liked Love Jones, you might also enjoy: The Photograph (2020).

Beauty and the Beast (1991)

Disney's most romantic animated film came at the peak of the company's creative renaissance with its classic fairy-tale adaptation about unconditional love. Visually, Beauty and the Beast is one of Disney's most beautiful movies, with lively character designs, richly detailed environments, and magnificent use of color, all inspired by French decorative art from the 18th century. Yet the film's backbone is its triumphant, romantic music: Alan Menken's score is operatic, epic, funny, beautiful, and occasionally haunting, while Howard Ashman's lyrics ensure poetry and character development in every song.

If you liked Beauty and the Beast, you might also enjoy: Aladdin (1992).

Sleepless in Seattle (1993)

Nora Ephron's classic pulls off a feat that sounds impossible on paper: Sleepless in Seattle is an entirely satisfying romantic comedy where the two leads don't interact for 95 percent of the movie. Hanks plays a single father in Seattle who captures the attention of a Baltimore journalist (Ryan) when he appears on a national radio show. The movie gives each player an abundance of time to independently develop before the plot eventually brings them together — Ryan's character Annie merely daydreams about Hanks' Sam as they both work through mediocre relationships on opposite sides of the country. Her sing-songy voice is the perfect vessel for Ephron's eloquent dialogue, which makes the character an endlessly charming romantic and idealist, perfectly balancing humorous cynicism and sincere emotion.

If you liked Sleepless in Seattle, you might also enjoy: This Is My Life (1992).

The Living End (1992)

Gregg Araki channels righteous fury and fear into a chaotic road film where two men living with HIV (Craig Gilmore and Mike Dytri) go on the run as they commit crimes and grapple with the uncertainty of their futures. The Living End is full of gorgeous imagery, offbeat humor, and live-wire performances, gracefully maneuvering between disparate tones and emotions by maintaining a constant sense of honesty. The two leads deftly toe the line between anger and passion, which means their onscreen relationship constantly shifts without ever seeming unrealistic or unbelievable.

If you liked The Living End, you might also enjoy: Thelma & Louise (1991).

Open Your Eyes (1997)

This unusual Spanish film contains multitudes — it's a mystery with sci-fi elements and existential ponderings — but the reason it all holds together is the strength of its romance. Eduardo Noriega stars as César, a wealthy young bachelor who has a terrible accident that complicates his blossoming relationship with Sofía, played by Penélope Cruz. César isn't an overwhelmingly lovable character, but his tenderness in scenes with Sofía reveals the hopeless romanticism lurking below his swaggering surface. As he loses his grip on reality, you desperately hope he can triumph over his struggles to reconnect with Sofía because their scenes together are just so electrifying.

If you liked Open Your Eyes, you might also enjoy: Vanilla Sky (2001).

Out of Sight (1998)

Jennifer Lopez and Clooney are perfectly matched in Steven Soderbergh's romantic crime thriller — their chemistry is so off the charts that even when one is alone on screen, you can still feel they're thinking about the other. Out of Sight follows a bank robber (Clooney) who crosses paths with a Federal Marshal (Lopez) as he embarks on a lucrative diamond heist. As evidenced by films like Ocean's Eleven (2001) and Logan Lucky (2017), Soderbergh is the king of ensemble heist movies, so it's no surprise how impressive the supporting cast is here: Ving Rhames, Albert Brooks, Steve Zahn, Catherine Keener, Don Cheadle, Nancy Allen, and Viola Davis all excel in supporting roles. It's stylish, sexy, and relentlessly fun.

If you liked Out of Sight, you might also enjoy: Ocean's Eleven (2001).

Fire (1996)

Deepa Mehta's groundbreaking drama was one of the first mainstream movies in Bollywood to depict queer love. The film follows two women (Nandita Das and Shabana Azmi) who live under one roof with their husbands (Javed Jaffrey and Kulbhushan Kharbanda). The husbands, who are brothers, have distinct shortcomings that make them passionless, distant spouses, so the sisters-in-law turn to each other for solace and company, eventually falling in love. It's an honest, tender movie that confronts the discomfort of rigid social structures, only allowing its characters to thrive when they disrupt traditions and norms.

If you liked Fire, you might also enjoy: Earth (1999).

Poetic Justice (1993)

John Singleton cast Janet Jackson and Tupac Shakur as the central couple in his road trip drama, and despite their both primarily being musicians, they deliver excellent natural acting performances. You'd never guess that these performers hadn't made a dozen movies before this one — they're charming, comfortable, and have palpable romantic chemistry. The overall movie isn't as ambitious as Singleton's debut Boyz N the Hood (1991), but it maintains that movie's strong tenderness, opting for a softer, smaller-scale drama with tons of heart, humor, and style. Poetic Justice doesn't shy away from the frequent harshness of Black life in the United States, but it still offers an abundance of beauty and hope.

If you liked Poetic Justice, you might also enjoy: Baby Boy (2001).

My Best Friend's Wedding (1997)

Julia Roberts delivers one of her best performances as a complicated woman whose world is rocked by the engagement of her best friend (Dermot Mulroney), for whom she harbors affection. On paper, her character is manipulative and cruel as she seeks to stop his wedding (and his happiness), yet she's effortlessly likable because of the actress' natural sincerity and surprising knack for physical comedy. Meanwhile, Cameron Diaz brings charm and depth to the bride-to-be character that's fairly one-dimensional at face value — her well-rounded performance makes the central love triangle much more complex and conflict-riddled than the average rom-com. And Rupert Everett as Roberts' partner in crime has more fun than anyone, as his carefree confidence has a gravitational pull that sucks in both viewers and fellow performers.

If you liked My Best Friend's Wedding, you might also enjoy: High Fidelity (2000).

The Piano (1993)

You can argue that all movies are works of art, but few are as artistically strong as Jane Campion's third theatrical feature, as the various components of The Piano could all stand on their own as canonical pieces in different mediums: Its arresting visual compositions are extraordinary, painterly, and worthy of praise divorced from any narrative context, while its musical score sounds like an undiscovered symphony from centuries ago, and its thematic and symbolic weight seem distinctly literary. The film follows a woman living with mutism (Holly Hunter) who marries a wealthy man (Sam Neill) in colonial New Zealand and then develops an intimate relationship with a neighbor (Harvey Keitel). The sexual politics and cultural dynamics at play are disarmingly thorny and complex, providing no easy answers to the moral questions the movie provokes between splitters of pure aesthetic zest.

If you liked The Piano, you might also enjoy: An Angel at My Table (1990).

Like Water for Chocolate (1992)

This adaptation of Laura Esquivel's seminal magical realism novel chronicles the melancholy life of a woman (Lumi Cavazos) who finds solace in cooking as her romantic endeavors are dismantled by her mother (Regina Torné). It's heartbreaking to witness the protagonist's miserable defeats, though they make her minute, intermittent victories all the sweeter. Like Water for Chocolate does a stellar job communicating the intense power of food, clearly presenting each meal's effects on eaters without using words. It also maintains an unusually literary tone by utilizing voice-over narration in many of the story's key moments.

If you liked Like Water for Chocolate, you might also enjoy: Amélie (2001).

Muriel's Wedding (1994)

P.J. Hogan's deadpan tragicomedy about a lonely Australian ABBA fan has plenty of laughs and even more moments of dark melancholy. The always excellent Toni Collette stars as the titular Muriel, an awkward woman who dreams of a lavish wedding but has never been on a date due to the restrictions of her overbearing father (Bill Hunter). It's a pretty affecting movie full of messy family dynamics and complex friendships, and it almost moves like James L. Brooks' Terms of Endearment, swerving into weepy hardship that you'd never anticipate from its early comedic tone. The colorful visual style is wonderful, the soundtrack is well-utilized, and Collette and Rachel Griffiths are both fantastic, toeing the line between comedy and tragedy without swinging too hard in either direction.

If you liked Muriel's Wedding, you might also enjoy: Sweetie (1989).