Film

Elle

A woman is raped in her home and, instead of collapsing, keeps running her video-game empire, needling her ex-husband, and quietly hunting the man who did it. Verhoeven directs it like a black comedy that keeps forgetting it's supposed to be one, and Huppert plays every scene with unreadable, magnificent calm. Not for anyone wanting catharsis — it withholds moral comfort on purpose.

TMDb rating6.6

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Promising Young Woman2020

Cassie's revenge plan has the same weaponized calm as Michèle's cat-and-mouse — a woman using control, seduction and dark wit to turn her trauma into someone else's problem, wrapped in candy-pop visuals that make the violence sting harder.

But The ending is far more didactic and genre-bound than Elle's shrug; if you want ambiguity rather than a message, it can feel like it's arguing with you.

Promising Young Woman poster

The Piano Teacher2001

Huppert again, this time for Haneke, playing a woman whose desire and cruelty are so entangled that pity becomes impossible — the same unflinching interest in a woman nobody is allowed to simply like.

But Colder and more punishing than Elle, with none of Verhoeven's mischief; it's a genuinely difficult, joyless watch even by arthouse standards.

The Piano Teacher poster

Gone Girl2014

A woman rewrites the story of her own victimhood with terrifying precision — the same pleasure in watching a smart, furious woman outmaneuver everyone underestimating her, filtered through Fincher's slicker American thriller machine.

But Its cleverness is more plot-driven and less morally troubling than Elle's; the twists resolve into satisfaction rather than lingering discomfort.

Gone Girl poster

The wildcard

Something you would not have found on your own.

Perfect Blue1998

Same premise underneath the animation — a woman stalked and psychologically unmade by someone who thinks they own her identity, and the same refusal to tell you which version of reality to trust.

Satoshi Kon's 1997 anime turns stalking and identity collapse into something genuinely vertiginous; it's the film Black Swan borrowed most of its DNA from, and it does psychological unraveling with more formal daring than most live-action thrillers dare.

But It's animated, Japanese, and occasionally quite violent in ways some people don't expect from the medium — not for anyone who thinks cartoons can't be this disturbing.

Perfect Blue poster
More like this (8)

Basic Instinct1992

Verhoeven's earlier, trashier dry run at the same idea: a woman whose sexuality is treated as a weapon and a mystery, and who refuses to explain or apologize for either.

But It's pulpier and far less interested in psychology than Elle — more erotic thriller spectacle than character study.

Basic Instinct poster

Black Book2006

Another Verhoeven heroine who survives by manipulating the men around her, this time inside Nazi-occupied Holland — the same fascination with women who use desire as strategy rather than vulnerability.

But The wartime setting and espionage plotting make it a bigger, busier film with less of Elle's claustrophobic domestic dread.

Black Book poster

The Girl with the Dragon Tattoo2011no page yet

Lisbeth Salander is another woman who answers violence with cold competence instead of collapse, turning survival into something closer to expertise — the same refusal to be defined by what was done to her.

But It's a much more conventional genre thriller, with clearer heroes and villains than Elle ever allows itself.

In the Cut2003no page yet

Meg Ryan against type, in a sweaty, ambiguous thriller about a woman drawn toward the danger she should probably be running from — the same refusal to make desire and threat easy to separate.

But Messier and more uneven than Elle, with pacing that occasionally undercuts its own tension.

A Simple Favor2018

If you want the black comedy dialed up and the menace dialed down, this delivers deception, dark jokes and a woman running rings around everyone who thinks they've got her figured out.

But It's glossier, campier, and ultimately much safer than Elle — a fun evening rather than an unsettling one.

A Simple Favor poster

Revenge2017no page yet

A far more brutal, stylised cousin: a rape-revenge thriller that trades Michèle's cool restraint for blood-soaked, sun-scorched spectacle, but shares the same refusal to let its heroine be reduced to a victim.

But It's grindhouse-adjacent and much gorier than Elle; if the original's violence already unsettled you, this will too, deliberately.

Repulsion1965

Polanski got there first: a woman alone in an apartment, sexual dread curdling into violence, told entirely through her fracturing point of view rather than anyone else's explanation of her.

Black-and-white and over fifty years old, but still one of the most unsettling portraits of a woman's interior collapse under sexual threat ever made — claustrophobic, silent, and far ahead of its time.

But It's slower and more austere than Elle, with almost no plot momentum — a mood piece, not a thriller in the modern sense.

Repulsion poster

Fleabag2016

Same engine, different costume: a woman using wit, control and a very particular kind of charm to keep everyone at a safe distance from something genuinely painful she's not ready to name.

Phoebe Waller-Bridge's series is funnier, smaller and warmer than Elle, but it's built on the same trick — a woman narrating her own damage with such sharp comic control that you almost miss how much she's hiding.

But It's a half-hour British comedy with almost none of Elle's menace or scale; if you wanted more thriller, this won't give it to you.

Fleabag poster

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