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American road movies have tended to be a white genre, with Spike Lee's Get on the Bus (1996) being a notable exception, as its main characters are African-American men on a bus travelling to the Million Man March, to the historic role of buses in the US civil rights movement.

All three films were shot by cinematographer Robby Müller and mostly take place in West Germany.European filmmakers of road movies appropriate the conventions established by American directors, while at the same time reformulating these approaches, by de-emphasizing the speed of the driver on the road, increasing the amount of introspection (often on themes such as national identity), and depicting the road trip as a search on the part of the characters.The German filmmaker Wim Wenders explored the American themes of road movies through his European reference point in his Road Movie trilogy in the mid-1970s.The director of Airbag, Juanma Bajo Ulloa, states that he aimed to make fun of the road movie genre as established in North America, while still using the metamorphosis through road trip narrative that is popular in the genre (in this case, the main male character rejects his upper class girlfriend in favour of a prostitute he meets on the road).Airbag also uses Spanish equivalents to the stock road movie setting and iconography, depicting "deserts, casinos and road clubs" and use the road movie action sequences (chases, car explosions, and crashes) that remind the viewer of similar work by Tony Scott and Oliver Stone.

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Julie Newmar (1995), which is about transvestites, and Smoke Signals (1998), which is about two Indigenous men.