Film
The Housemaid
Sydney Sweeney plays a housemaid with a past she's outrunning, hired into the marble-floored orbit of Amanda Seyfried's icy rich wife and Brandon Sklenar's charming husband. It's glossy, horny, and fully aware of its own trashiness — a domestic thriller that trades subtlety for seduction, secrets, and a slow-burn power flip between the women. Watch it for vibes, not verisimilitude.
If you liked this
Gone Girl2014
The gold standard for glossy marriage-thrillers where nobody is who they seem. Cold, stylish, and endlessly quotable, it turns domestic resentment into a genuine nail-biter.
But It's bleaker and more cynical than this film — less fun, more indictment. Don't expect a tidy, satisfying villain.

A Simple Favor2018
Two women, one enormous house's worth of secrets, and a tone that flips between soapy and genuinely funny. If you liked the seductive-power-games energy here, this leans into camp on purpose.
But The comedy might undercut the tension you're craving — this one's a wink, not a white-knuckle grip.

The Girl on the Train2016
An unreliable narrator peering into a marriage she's not part of, unravelling secrets nobody wanted her to find. Same voyeuristic pleasure of watching wealth from just outside it.
But Slower and more interior — this is about a mind unspooling, not a household imploding in real time.

The wildcard
Something you would not have found on your own.
The Servant1963
Same engine as The Housemaid — a domestic worker infiltrating a household and quietly flipping who holds the power — but decades earlier, genders reversed, and played dead serious instead of sultry.
A manservant slowly, quietly takes over his wealthy employer's household and identity — cold, controlled, and genuinely unnerving in how little it raises its voice.
But Black and white British arthouse with almost no plot momentum by modern standards — all atmosphere, no jump scares.

More like this (8)
Parasite2019
The definitive infiltrating-the-rich-household movie, and infinitely sharper about what class actually costs everyone involved. Tense, funny, then devastating.
But It's a masterpiece with teeth — expect real moral weight, not a guilty-pleasure spiral.

Fatal Attraction1987
The erotic thriller that basically invented this genre's grammar: desire, obsession, a marriage under siege. Still shockingly effective.
But Dated gender politics and a much pulpier, less ambiguous villain than modern versions offer.

The Talented Mr. Ripley1999
An outsider charms his way into a life of wealth he was never meant to have, and the longer he stays, the more precarious it gets. Gorgeous, tense, morally slippery.
But It's a slow burn about identity and class envy rather than a twisty page-turner — patience required.

Rebecca1940
A new wife arrives at a great house still haunted by the woman who came before her, and the servants know more than they're saying. Hitchcock at his most deliciously gothic.
But Black and white, mannered, and more suggestive than explicit — it seduces slowly rather than shocking.

Big Little Lies2017
Wealthy women, gorgeous houses, and a friendship built on things nobody's saying out loud. If you want more hours of glamorous secrets, this delivers a whole season's worth.
But It's more of an ensemble drama than a two-hander — the thriller elements simmer rather than boil.

You2018
An obsessive outsider worms into someone's life and narrates his own manipulation with unsettling charm. Same pleasure of rooting for someone you probably shouldn't.
But It's pulpier and more repetitive across seasons — great first run, diminishing returns after.

Get Out2017
Structurally identical: someone taken in by a wealthy household who slowly realises the warmth is a trap. Get Out just swaps the genre costume from thriller to horror and race becomes the fault line instead of class.
An outsider enters a wealthy family's orbit expecting awkwardness and finds something far more sinister waiting under the hospitality. Sharp, funny, then absolutely terrifying.
But It's horror, not erotic thriller — expect dread and social commentary, not seduction and scandal.

The Hand That Rocks the Cradle1992
The same domestic-worker-with-a-secret-past setup, but stripped of all subtlety and irony — this is what the genre looks like when it stops pretending to be tasteful.
A vengeful nanny worms her way into a family's home with a hidden agenda, and the melodrama goes gloriously, unapologetically over the top.
But It's trashier and less polished — this is B-movie theatrics with a straight face, not prestige gloss.

People
Cast
Sydney SweeneyMillie Calloway
Amanda SeyfriedNina Winchester
Brandon SklenarAndrew Winchester
Michele MorroneEnzo
Indiana ElleCece Winchester
Sarah CooperPam
Elizabeth PerkinsMrs. Winchester
Amanda Joy EricksonSuzanne
Megan FergusonJilliane
Ellen TamakiPatrice- Peter ColandroCashier
Don DiPettaOfficer Jenkins
Directing
- Paul FeigDirector
- Artist W. RobinsonFirst Assistant Director
- Jessica JaySecond Assistant Director
Writing
- Freida McFaddenBook
- Rebecca SonnenshineScreenplay
Production
- Allison JonesCasting
- Alexander YoungExecutive Producer
- Amanda SeyfriedExecutive Producer
- Carly Kleinbart ElterExecutive Producer
- Christopher WoodrowExecutive Producer
- Connor DiGregorioExecutive Producer
- Freida McFaddenExecutive Producer
- Jennifer BoothExecutive Producer
- Sydney SweeneyExecutive Producer
- Will GreenfieldExecutive Producer
- Adam KornFinance
- David ShaverFinance
- Laura Allen FischerProducer
- Paul FeigProducer
- Todd LiebermanProducer
- Franses SimonovichUnit Production Manager
- Will GreenfieldUnit Production Manager