Film
Madeline's Madeline
A fever dream of a film about a teenage girl caught between her mother and a manipulative theater director who mines her trauma for art. Hallie Estabrook's debut is visceral and disorienting—bodies move wrong, sound design unsettles, the camera refuses to settle. It's for people who want cinema to feel like being inside someone's panic.
Should you watch it?
Watch it if you are drawn to films that feel improvised and unsettling at once, where a rehearsal room's experiments with mood and movement bleed into real emotional danger and you enjoy being kept slightly off balance.
Skip it if you want a clean narrative with clear stakes and steady footing, since the film keeps shifting between staged theatre and raw domestic tension and may feel fragmented or frustrating to follow.
What it asks of you: It runs a brisk ninety-four minutes but asks you to hold several registers at once, staying alert as the boundaries between rehearsal and life loosen and tighten without warning.
Not sure? Find tonight's pick in a minute.
If you liked this
Hereditary2018
A family's psychological unraveling told through dread and body horror, with similar commitment to making invisible pain visible through grotesque imagery and sound design.
But Bleak and nauseating in ways that don't offer catharsis—some find it punitive rather than illuminating.

Suspiria2018
Dance, dark mentorship, and a young woman's body as battleground for older women's control. Visually baroque and rhythmically hypnotic in that same disorienting way.
But Long, slow, and you're never sure what's real or metaphorical—patience required, and the ending divides people fiercely.

A Ghost Story2017
Obsessed with how we extract and consume other people's lives and stories. Intimate and meditative, but with real dread underneath about possession and use.
But Moves at its own glacial pace; repetitive in structure; some find it self-indulgent rather than profound.

Not sure tonight? Get a pick in a minute, starting from Madeline's Madeline
The wildcard
Something you would not have found on your own.
Raw2017
Both use body horror and physical performance to externalize what can't be spoken; both pit a girl's internal awakening against maternal control.
A French-Belgian horror about a girl's body waking up to hunger and rage; physically transformed by experience in ways that feel both literal and metaphorical, with a mother-daughter relationship as fraught as Madeline's.
But Deeply unsettling imagery involving meat and the body; some feel the metaphor is secondary to the shock value.

More like this (7)
The Master2012
Power struggle between a damaged man and a charismatic authority figure; brilliant formal camera work and performance acting out things words can't touch.
But Deliberately opaque about what's happening, shot in 65mm that demands a theater—uncomfortable and unresolved by design.

Mulholland Drive2001
Reality fractures around performance and need; the second half rewires everything you thought was real. David Lynch's masterpiece about the narcissism of artists and the cost to those who orbit them.
But Long, sometimes silly, and the twist reads as pretentious to some; you'll argue about what it means for years.

Moonlight2016
Three chapters of a Black boy's interior world; visual poetry that trusts image over explanation, with sensitivity to how trauma lives in the body and in silence.
But Quiet and spare; some find it too precious or slow; the emotional core requires you to meet it halfway.

The Killing of a Sacred Deer2017
A family's stability corroded by obligation and power imbalance; Yorgos Lanthimos uses clinical distance and ritual repetition to make everyday horror feel cosmic.
But Weird dialogue, glacial pacing, and an ending that some experience as ridiculous rather than darkly comic.

Under the Skin2014
A woman's body as lure and instrument; experimental sci-fi that's more texture and mood than plot, with Mica Levi's score doing the real emotional work.
But Glacially slow, almost no dialogue, and the narrative is deliberately obscured—some find it beautiful, others tedious.

Certain Women2016
Three overlapping stories of women's frustration and desire, shot with Lucrecia Martel's signature attention to sound and space; small moments made enormous.
But Plotless, sparse, and bleak in a distinctly unglamorous way—nothing is resolved, and the reward is subtle.

The Act of Killing2012
Both films are about what happens when a director asks someone to perform their own trauma or shadow for the camera—and who benefits from that performance.
A documentary where perpetrators of genocide are invited to stage their own crimes as movie scenes. The unstable boundary between performance and reality, between artist and subject, becomes literally unbearable.
But Ethically complicated and morally exhausting; some find it exploitative; heavy subject matter that doesn't soften.

People
Cast
Helena HowardMadeline
Molly ParkerEvangeline
Miranda JulyRegina
Okwui OkpokwasiliNurse, KK
Sunita ManiAssistant Max- Eva SteinmetzClaire, Woman in Pig Mask
Felipe BonillaSantos, Cousin Elmer- Lolo HahaAart
- Jorge Torres-TorresAlejandro, Craps
Lisa B. TharpsLaura
Dana EskelsonLamo
Sophie TraubHollie, Dr. French
Directing
- Josephine DeckerDirector
- Nick GrauFirst Assistant Director
- Ted DaySecond Assistant Director
- Houston JonesSecond Second Assistant Director
Writing
- Donna di NovelliCo-Writer
- Emily DeckerStory Consultant
- Gail SegalStory Consultant
- Sharon MashihiStory Editor
- Josephine DeckerWriter
Production
- Jenn HaltmanAdditional Casting
- Ezriel GelbfishAssistant Location Manager
- Mark LukenbillAssistant Location Manager
- Adam KershAssociate Producer
- Stephanie HolbrookCasting
- Will JeffersonCasting Assistant
- Jane WuCo-Executive Producer
- Nick MoceriCo-Executive Producer
- Thane RitchieCo-Executive Producer
- Allison Rose CarterCo-Producer
- Amenya MakukuCo-Producer
- Jon ReadCo-Producer
- Edwin LinkerExecutive Producer
- Joe SwanbergExecutive Producer
- Matthew PerniciaroExecutive Producer
- Michael DeckerExecutive Producer
- Michael ShermanExecutive Producer
- Peter GilbertExecutive Producer
- Sydney StewartKey Production Assistant
- Elizabeth RaoProducer
- Krista ParrisProducer
- Olivia West LloydProduction Coordinator