Film

Naná

Other titles called Naná: the 1926 film, the 2005 film, the 2006 series (NTV).

A Mexican musical melodrama adaptation of Zola's scandalous novel about a courtesan's rise and fall in 19th-century Paris. Irma Serrano dominates with cabaret performances woven through the narrative. It's a lush, theatrical affair—operatic rather than naturalistic—where the music matters as much as the story. For viewers who want their moral decay delivered with orchestration and sequins.

Should you watch it?

Watch it if you enjoy a melodramatic, sensual retelling of a Zola novel where the singing numbers and bold stage presence carry as much weight as the plot, and you like your romance with a theatrical edge.

Skip it if you want a faithful, restrained literary adaptation, since this 1985 version leans into flamboyant performance and music over the novel's social observation and naturalistic detail.

What it asks of you: It runs about an hour and forty minutes and settles into a steady, indulgent rhythm, with musical interludes breaking up the drama, so it rewards a viewer willing to go along with its exaggerated tone.

If you liked this

Camille1936

Greta Garbo as a courtesan destroyed by love and circumstance. The template for all tragic fallen-woman stories. Elegant, heartbreaking, and Garbo's performance is absolute cinema.

But It moves slowly by modern standards, and the emotional register is deliberately restrained—the opposite of showy.

Camille poster

Moulin Rouge!2001

Music, spectacle, and bohemian Paris collapse into the tragic love story of a courtesan. Baz Luhrmann does excess; you get production design as a character. Dizzying and alive.

But The tonal whiplash between comedy, tragedy, and musical number can feel manipulative. Some find it exhausting rather than exhilarating.

Moulin Rouge! poster

The Killing of a Sacred Deer2017

Slow-burn moral reckoning disguised as a contemporary thriller. Formally precise, deeply unsettling, Yorgos Lanthimos at his most controlled. Stays with you for days.

But Virtually no plot momentum in the traditional sense. It's glacial and deliberately artificial—not for viewers who need to feel carried along.

The Killing of a Sacred Deer poster

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Irma la Douce1963

Same source mythology—the dangerous allure of the woman outside respectable society, and the inevitable cost of that allure to everyone involved. Just told for laughs instead of tears.

Billy Wilder's comedic take on a Parisian courtesan and her relationship with a cop who falls for her. Lighter than Zola, but structurally and thematically the same story of a woman selling herself and the men who consume her. Audrey Hepburn and Jack Lemmon's chemistry is irresistible.

But It's a comedy about prostitution, which dates awkwardly. The French setting is actually Paris Texas via Hollywood backlot. Some find Wilder's tone trivializing.

Irma la Douce poster
More like this (7)

Adagio2024

Recorded opera (Franco Zeffirelli's production) of Verdi's most famous adaptation of Dumas's courtesan tale. Straight classical tragedy with the world's best singers. Gorgeous and genuinely moving.

But You're watching opera. If sung recitative instead of dialogue bothers you, no version of this exists for you.

Adagio poster

Lola Montès1955

Max Ophüls on the life of a famous courtesan-dancer told in fragmented, gorgeous Technicolor. Formally inventive and utterly romantic about its own subject. A masterpiece of cinema.

But The circular structure and refusal of linear narrative confuse viewers expecting a proper biopic. Requires patience and surrender.

Lola Montès poster

Butterfly1982

Pio and Amleto Balzani's lesser-known melodrama about forbidden desire. More intimate than grand, with real intimacy beneath the theatrical surface. Moving in unexpected ways.

But Genuinely obscure and difficult to find. Low production values compared to major studios. The story is deliberately downbeat.

Butterfly poster

The Godfather Part II1974

Parallel narratives of corruption across generations. If you're interested in how power and morality corrupt the soul, this is the definitive exploration. Coppola's masterpiece.

But It's long, and the pace is deliberate. The violence, when it comes, is shocking. It's not actually about women, which seems off-topic here.

The Godfather Part II poster

Pennies from Heaven1981

Depression-era melodrama where fantasy musical numbers erupt from ordinary suffering. Steve Martin against type. Heartbreaking and genuinely strange. A hidden gem.

But Tonally confused on purpose, which some find grating. The ending is genuinely dark and offers no comfort whatsoever.

Pennies from Heaven poster

Dancer in the Dark2000

Both feature a woman whose sexuality and labor are commodified, whose descent is partly structural (the world fails her) and partly self-inflicted. Both use music as emotional amplification rather than relief.

Lars von Trier's Selma is a factory worker driven to desperate acts by circumstance and love. Björk's performance shatters you. The musical numbers are the character's escape into fantasy. Unbearably intense and formally brilliant.

But It's devastatingly sad. The ending is genuinely traumatic. Von Trier's provocation can feel cruel rather than purposeful. Extremely difficult to watch.

Dancer in the Dark poster

Pickup on South Street1953

Subsistence as a way of life. The woman (Jean Peters) survives by her wits and her body. Like Naná, she's the center of the story but not in control of it. Both are unflinching about the costs of that position.

Samuel Fuller's lean noir about a pickpocket and a woman trying to survive the margins of society. Shot in black-and-white on actual New York streets. Tougher and stranger than it first appears. Fuller's moral ambiguity is radical.

But It's 1950s exploitation done seriously—the woman's sexuality is currency, which reads as uncomfortable by design. The Cold War politics feel distant. Low budget means rough edges.

Pickup on South Street poster

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