10 Most Taylor Swift-Coded Movies Of All Time

2025 had been a quiet year so far. The global economy tanked and Sydney Sweeney nearly brought about the collapse of democracy, but nothing too major had happened.

Then Taylor Swift got engaged and everything changed. Suddenly, it didn’t even matter that China, Russia, and North Korea were unnervingly friends now, because Taylor Swift got engaged.

Now, Taylor Swift’s universe is bigger than ever, which means it’s always the right time to definitively list the most Taylor Swift-coded movies of all time to help everyone celebrate her world.

Legally Blonde (2001)

(1989-coded)

Elle Woods is bright, glittery, ambitious, and underestimated, just like Swift was when she released 1989 and instantly became pop music’s new queen. With 1989, Swift reinvented herself as an unapologetic pop diva who was in on the joke, just as Elle Woods transformed from Malibu Barbie to Harvard Barbie overnight and bodied all of campus. 

Should have been on the movie soundtrack: “How You Get The Girl”

Like Crazy (2011)

(Tortured Poets Department-coded)

Like Crazy is all but forgotten now, but this 2011 romantic drama starring Felicity Jones and the late Anton Yelchin is tender, devastating, and drenched in melancholy. Sound familiar? Like The Tortured Poets Department, it chronicles the fragility of love, the difficulties of long-distance romance, and the tragedy of imperfect timing.

Should have been on the movie soundtrack: “loml”

Little Women (2019)

(Folklore-coded)

Few movies feel as November-coded as Little Women, and few albums feel as November-coded as Folklore. On top of that, Folklore conjures the innocence and brashness of youth just as potently as Little Women does. Jo, Beth, Amy, and Meg could all be characters from Folklore, given their respective learnedness, quiet presence, ambition, and practicality. 

Should have been on the movie soundtrack: “Seven”

500 Days of Summer

(Red-coded)

Both 500 Days and Red grapple with a head-over-heels romance that just keeps rolling until it collapses. Meanwhile, Taylor plays with nonlinear narrative in Red to brilliant effect, just like 500 Days tells the story of Tom and Summer using both flashbacks and flash-forwards. Both pieces of art capture euphoric highs and devastating lows.

Should have been on the movie soundtrack: “All Too Well (10 Minute Version)”

The Great Gatsby (2013)

(Reputation-coded)

There’s already a line in Reputation that goes, “Feeling so Gatsby for that whole year.” As if that weren’t enough, there’s also the whole matter of The Great Gatsby and Reputation sharing themes: glamour, scandal, doomed love, and the power of perception. Daisy’s tragic allure perfectly encapsulates the fatalism of Taylor at her most furious.

Should have been on the movie soundtrack: “Getaway Car”

Romeo + Juliet (1996)

(Fearless-coded)

Equally dizzying and dramatic, Baz Luhrmann’s Romeo + Juliet makes even doomed love look attractive. Its heart-on-sleeve romanticism is Early Taylor to a tee. 

Should have been on the movie soundtrack: “Love Story,” obviously 

Gone Girl (2014)

(Midnights-coded)

Both Midnights and Gone Girl are dark, sophisticated, and vengeful, preoccupied as they are with the idea of performative womanhood. Amy Dunne’s iconic “cool girl” speech, as delivered by the superb Rosamund Pike, is razor-sharp feminine rage dressed in pop sheen, just like Midnights. 

Should have been on the movie soundtrack: “Mastermind”

Practical Magic (1998)

(Evermore-coded)

Evermore is Swift at her witchiest. If you watched the Eras Tour, then you’ll know that this album necessitated a choreographed routine in which cloaked figures performed Druidic rituals with glowing orbs or whatever. Beyond that, Evermore also tackles themes of forbidden desire and grief, both of which are present in the witchy rom-com Practical Magic.

Should have been on the movie soundtrack: “Ivy”

Beauty and the Beast (1991)

(Speak Now-coded)

Whimsy, magic, and a princess-perfect love story. It’s all there in Speak Now, and it’s famously there in Beauty and the Beast. Speak Now is still very Early Taylor, replete with fairy tale imagery and the awe-inducing effects of first love. What better princess tale to represent Speak Now than Beauty and the Beast, which established a Disney prototype of smart, confident princesses who didn’t need a man? (But took one anyway, because it was the ‘90s?)

Should have been on the movie soundtrack: “Enchanted” 

Call Me By Your Name (2017)

(Lover-coded)

Lover is all dreamy imagery and epic couplets about transformative love. Meanwhile, Call Me By Your Name is the perfect visual distillation of a swoony summer sigh. In CMBYN, Elio finds himself bound to a place, time, and person that he’ll never forget, just like Swift does in “Cornelia Street.” Also, Lover is the album in which Swift declared herself an LGBTQ-ally (a noncommittal one, but still). That makes CMBYN an even more perfect candidate.

Should have been on the movie soundtrack: “Cornelia Street”

BONUS MOVIE: Valentine’s Day (2010)

(Taylor Swift-coded)

Taylor was literally in this mediocre movie, though no one ever remembers. Kinda like how everyone, including seemingly Taylor herself, forgets that she made a sweet and awkward self-titled debut album that supposedly had music in it. What was it called again? It’s on the tip of my tongue. 

Should have been on the movie soundtrack: Ugh, I forgot the name of the song, but you know what I’m talking about. It’s the one with all the music and words?