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As of Sept. 22, we are officially in fall — possibly the best season when it comes to atmospheric, warm, and moody films. So sit back, with some snacks and beverages of preference — Airheads Xtremes Bites, hopefully — and prepare to be spooked, brought to tears, or comforted by these five fall films.

‘When Harry Met Sally…’ Dir. Rob Reiner (1989)

How could anyone not put this on a fall movie list? “When Harry Met Sally…” is possibly the quintessential fall romance. The film follows — as expected — Harry (Billy Crystal) and Sally (Meg Ryan) as they enter each other’s lives, become friends, and — well, it’s a rom-com. The film has a gorgeous color palette, is relatively family-friendly — except for one scene that’s raunchy by late 1980s standards — and is just cozy.

Can men and women ever just be friends? That’s essentially the question the rom-com seeks to answer. Harry, from his very first interaction with Sally, asserts that no, men and women can never just be friends. The twists and turns of Harry and Sally’s relationship seem at times to both cement and reject his theory. “When Harry Met Sally…” is a beautiful depiction of the friends-to-lovers trope. It’s not cliche — world-famous tropes had to start somewhere. This film is one of those warm beginnings.

‘Election’ Dir. Alexander Payne (1999)

“Election” is a satire adaptation of a 1998 novel of the same name, written by Tom Perrotta. Not what most would expect in a fall movies listicle, the film follows a student government election that goes massively off the rails — mostly because the main character, a high-school history and civics teacher, played by Matthew Broderick (from “Ferris Bueller’s Day Off” fame), tries to sabotage it.

The presidential candidates include a goody two-shoes, politically ambitious high school junior (Reese Witherspoon), a well-meaning football player (Chris Klein), and that football player’s angry, adopted sister (Jessica Campbell). Its nostalgic high school setting is evocative of autumn.

“Election” is expertly written — while it’s genuinely hilarious and is certainly not family-friendly — it provides for a weirdly nuanced discussion of political ethics. Broderick’s and Witherspoon’s dynamic is by far the highlight of this movie; despite the fact that the ostensible protagonist is Jim McAllister (Broderick) and the ostensible villain is Tracy Flick (Witherspoon), director Alexander Payne cleverly challenges the viewer to think about just who they’re rooting for and against.

‘Donnie Darko’ Dir. Richard Kelly (2001)

This one gets a little weird. “Donnie Darko” was Jake Gyllenhaal's breakout role, and for good reason, too. He is phenomenal as Donnie Darko, a mentally ill and temperamental teenager who navigates his mental troubles, high school, a weird jet engine accident, a man named Frank in a strange rabbit costume, and the imminent end of the world (Frank makes him aware of this, obviously).

“Donnie Darko” excels at making the viewer feel so many different emotions at once: comforted and relaxed through its relatively calm pace and familiar, nostalgic suburban setting, creeped out and confused through its cryptic supernatural imagery, and amused at its unexpected humor.

The film is not only a zany thriller, but a strangely touching depiction of teenage angst and loneliness, and that oh-so-familiar feeling of being misunderstood. For Michael Andrews’ and Gary Jules’ melancholic cover of “Mad World” alone, “Donnie Darko” deserves a spot on this list.

‘Cure’ Dir. Kiyoshi Kurosawa (1997)

Quiet, noir Japanese horror. “Cure” is a horror movie in the way “Seven” (1995) or “The Silence of the Lambs” (1991) are — psychological thrillers that challenge, confuse, and scare the mind by confronting the viewer’s deepest, taboo desires.

The film follows Kenichi Takabe, a Tokyo detective, who investigates a series of incredibly violent murders — an X is carved into each of the victims’ necks — seemingly caused by Kuniyo Mamiya, who has no memory of each of the killings. It becomes apparent that Mamiya somehow “hypnotizes” somebody into murder by tapping into their darkest feelings — fear, envy, resentment.

“Cure” is beautiful. Each shot is fit for a painting in New York City’s Metropolitan Museum of Art. Kurosawa creates a dreary, muddy atmosphere not only through the film’s rainy environment, but through his off-putting use of long takes. The camera lingers on objects for just a moment, or a few moments too long, and there’s no horror like that created in the viewer’s anticipation.

Also, bonus points for hypnotism. Movies use it more often than most would think — see “Oldboy” (2003).

‘Possession’ Dir. Andrzej Żuławski (1981)

A horror movie about divorce – it can’t get much scarier than that.

“Possession” racks basically every viewer’s brain. It follows Mark, a spy, who comes back home to West Berlin, reunited with his wife, Anna, only to find out she wants a divorce. The film slowly moves away from reality as the plot progresses — it almost feels like a family drama at points, reminiscent of something like “Marriage Story” (2019).

It’s hard to discuss “Possession” without outright diving into its body-horror, absurdist comedy, and melodrama. A word of advice, though: This is a film about feelings. It certainly won’t make sense by the end. Żuławski ensures that. But it is definitely worth watching.

Żuławski brilliantly taps into intense feelings of angst and betrayal while portraying Mark and Anna’s divorce-gone-sideways. The film also evokes this horrible, horrible feeling of unfamiliarity: of a spouse turning into an unrecognizable monster. Was that the woman with whom he chose to spend the rest of his life? Prepare for a little bit of creature horror.

Like every other film on this list, its cinematography and direction are entrancing. Its surreal and sweeping camera movements make it all feel like a dream. One specific set piece in a subway tunnel comes to mind as the film’s highlight — it’s unclear what’s even happening; possibly a miscarriage, or at least, what it feels like to have a miscarriage.

“Possession” does have a darker color palette than some of the other films on the list, perhaps more fitting for a winter listicle, but, truly, this is a perfect movie for Halloween.