The genre of movies that take place almost entirely inside automobiles is niche but endlessly intriguing. Iranian directors like Abbas Kiarostami (“Taste of Cherry,” “Ten”) and Jafar Panahi (“Tehran Taxi”) have made a specialty of the form, in part because a car is one of the few places the authorities can’t typically listen in. David Cronenberg’s “Cosmopolis” stretched a corporate limo to surreal lengths, and Steven Knight’s “Locke” — probably the best of the bunch — had Tom Hardy as a man undergoing professional and personal meltdowns via car phone on a 90-mile drive to London.
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