If You Liked Anora, Here Are 20 Movies That Capture the Same Feeling

Belle de Jour (1967)

Luis Buñuel’s Belle de Jour is what happens when repressed desires, bourgeois ennui, and surrealist mischief collide in a perfectly composed French film. Catherine Deneuve, in peak icy-blonde perfection, plays Séverine, a seemingly proper housewife who, instead of baking soufflés or rearranging throw pillows, decides to moonlight as a high-class escort. Because, why not? The film toys with reality and fantasy so seamlessly that half the time, you’re wondering whether what you’re watching is actually happening or just Séverine’s daydreams gone wild. It’s provocative without being explicit, sensual without losing its elegance, and it all unfolds with Buñuel’s signature deadpan humor. If you’re the type who enjoys peeling back layers of psychosexual drama and social satire while admiring impeccable ‘60s fashion, then this one’s for you. Plus, Michel Piccoli and Jean Sorel bring just the right amount of old-school French heartthrob energy to keep things interesting. | © Robert et Raymond Hakim

After Hours (1985)

Martin Scorsese made After Hours as if he were daring you to have a nervous breakdown alongside its protagonist, played by a magnificently frazzled Griffin Dunne. Imagine this: you meet a mysterious woman (Rosanna Arquette, full of ‘80s charm), she invites you over, and suddenly your night spirals into an absurd, paranoia-fueled odyssey through the bizarre underworld of late-night New York. You’ll meet artists who sculpt bagels, a mob of angry locals who think you’re a criminal, and Cheech and Chong (yes, they’re in this!) making things even weirder. It’s part thriller, part comedy, and entirely a fever dream – like if Franz Kafka and David Lynch had a neon-lit, coke-fueled love child. If you’ve ever felt trapped in a night that refuses to end (bad date, missed train, lost wallet – take your pick), then this movie will speak to you on a deeply spiritual level. | © The Geffen Company

Working Girls (1986)

Forget the Hollywoodized, glossy version of sex work – Working Girls is here to serve you something much more grounded and real. Directed by Lizzie Borden (yes, that’s her actual name), this indie gem takes you inside a high-end Manhattan brothel, where the women who work there treat it like any other job – clocking in, dealing with difficult clients, and chatting with co-workers about everyday nonsense. The film refuses to sensationalize or judge, giving space to the small, mundane, and often humorous aspects of the workday. Louise Smith delivers an understated yet powerful performance as Molly, a college-educated woman who chose this profession not out of desperation, but because, well, it pays the bills. Borden’s documentary-style approach makes you feel like a fly on the wall, and before you know it, you’re invested in these women’s lives in ways you didn’t expect. It’s refreshing, it’s quietly radical, and it’s criminally underrated. | © First Run Features

Pretty Woman (1990)

Ah, Pretty Woman – the Cinderella story with a thigh-high-booted twist! Julia Roberts became America’s sweetheart overnight with that megawatt smile and infectious laugh, and Richard Gere brought his silver fox A-game as the brooding billionaire who, let’s be honest, had no business being that emotionally stunted for a man that rich. But we forgive him, because their chemistry? Absolutely off the charts. This is the ultimate fantasy of being plucked from ordinary (or in this case, slightly more complicated) life and dropped into a whirlwind romance complete with Rodeo Drive shopping sprees and private jet getaways. Sure, it’s got the glossy, sanitized version of the oldest profession that only Hollywood could dream up, but it also has Hector Elizondo as the world’s most delightful hotel manager, and that’s worth the price of admission alone. Come for the romance, stay for the fashion, and leave humming “It Must Have Been Love” like it’s 1990 all over again. | © Touchstone Pictures

True Romance (1993)

If Tarantino ever wrote a fairy tale, True Romance would be it. This is what happens when you take two lovestruck outcasts (Christian Slater and Patricia Arquette, both oozing charisma), throw them into a whirlwind crime spree, and add a supporting cast so stacked it’s almost unfair – Dennis Hopper! Gary Oldman! Brad Pitt! Christopher Walken! Val Kilmer as an imaginary Elvis, because why not? The movie is dripping with cool, from Tony Scott’s neon-drenched direction to the now-iconic Hans Zimmer score (which, fun fact, is heavily inspired by the music in Badlands). It’s violent, it’s romantic, it’s absurdly quotable (“You’re so cool” is basically the love language of 90s cinephiles). And despite all the shootouts, betrayals, and white-powder-filled suitcases, the film’s beating heart is the love story between Clarence and Alabama – a duo so devoted to each other, they make Bonnie and Clyde look like casual acquaintances. | © Warner Bros.

Showgirls (1995)

There are bad movies, and then there’s Showgirls – a film so gloriously excessive, so shamelessly over-the-top, that it looped back around into camp masterpiece territory. Paul Verhoeven (yes, the same guy who made RoboCop and Basic Instinct) directs this fever dream of neon-lit debauchery, with Elizabeth Berkley shedding every ounce of her wholesome Saved by the Bell image to play Nomi Malone, a dancer with big dreams, an even bigger attitude, and an unfortunate habit of flailing her arms like she’s being electrocuted. Gina Gershon saunters in as Cristal Connors, a queen bee showgirl with a perpetual smirk, and together, they create one of the most ridiculously entertaining rivalries in film history. The dialogue? Iconic in all the wrong (right?) ways. The explicit scenes? Unhinged. The Vegas setting? A perfect backdrop for the movie’s unapologetic embrace of excess. If you like your films dripping in guilty pleasure goodness, look no further. | © MGM

Like Crazy (2011)

Before Felicity Jones was rebelling against the Empire and Anton Yelchin was racing through the stars, they were just two young lovers trying to survive a long-distance relationship in Like Crazy – a heartbreakingly realistic romance that will absolutely wreck you if you’ve ever loved and lost. There’s nothing glossy or artificial here; it’s all raw emotion, awkward silences, and those tiny, bittersweet moments that make a relationship feel real. Director Drake Doremus famously had the actors improvise much of the dialogue, which means every scene feels heartbreakingly authentic (and also explains why Yelchin and Jones have such insane chemistry). Jennifer Lawrence also pops in for a brief but memorable role – because why wouldn’t she? The film’s quiet, intimate style and gut-punch ending make it a standout among love stories that dare to depict romance as messy, painful, and utterly unforgettable. | © Paramount Vantage

Sleeping Beauty (2011)

No, not the Disney one – though this version could give Maleficent nightmares for entirely different reasons. Sleeping Beauty, directed by Julia Leigh, is a hauntingly cold, almost clinical descent into the world of high-end, highly disturbing lust. Emily Browning delivers an eerily detached performance as Lucy, a university student who, in desperate need of cash, takes a job where she is drugged into unconsciousness while wealthy men do… well, let’s just say, things in her presence. What exactly happens while she sleeps? That’s the unnerving mystery the film teases, but never fully reveals. It’s beautifully shot, unsettlingly quiet, and as hypnotic as it is discomforting. If you’re looking for a film that leaves you feeling slightly disturbed but also kind of mesmerized, this one will do the trick. Just maybe don’t watch it right before bed. | © Transmission Films

Spring Breakers (2013)

If you ever wondered what would happen if a heist movie, an art film, and an MTV music video had a wild, neon-soaked threesome, Spring Breakers would be the result. Harmony Korine takes four former Disney stars – Selena Gomez, Vanessa Hudgens, Ashley Benson, and Rachel Korine – and throws them into a fever dream of crime, bikinis, and Britney Spears sing-alongs. And then there’s James Franco, in his most James Franco role ever, as Alien, a rapper/gangster/Floridian weirdo with cornrows and an obsession with his “shorts.” The film is pure sensory overload, bouncing between social satire and outright chaos, and by the end, you’re not sure if you just watched a crime drama or a 90-minute hallucination. Either way, it’s impossible to forget. | © A24

Tangerine (2015)

Filmed entirely on an iPhone (yes, really), Tangerine is a whirlwind of energy, color, and raw emotion that captures the streets of Los Angeles in a way no big-budget film ever could. Directed by Sean Baker, this indie gem follows Sin-Dee Rella (played by the absolutely electric Kitana Kiki Rodriguez) and Alexandra (Mya Taylor) as they tear through Hollywood on Christmas Eve, looking for Sin-Dee’s cheating boyfriend. It’s loud, it’s funny, it’s heartbreaking, and most importantly, it’s alive. The performances are magnetic, the cinematography makes LA look both beautiful and grimy, and the film’s mix of humor and heartbreak hits just the right note. It’s a wild ride from start to finish, proving you don’t need a million-dollar budget to make a film that crackles with energy. | © Magnolia Pictures

American Honey (2016)

Picture this: a van full of misfits, blasting hip-hop, scamming strangers, and chasing an ever-elusive version of the American Dream. That’s American Honey, Andrea Arnold’s sprawling, sun-drenched road movie that feels like a mix of documentary realism and youthful recklessness. Sasha Lane makes her stunning debut as Star, a teenager who ditches her miserable home life to join a ragtag crew of magazine-selling drifters, led by a rat-tailed, oddly charismatic Shia LaBeouf (in peak chaos mode). Riley Keough, all sharp edges and manipulative charm, plays the group’s cutthroat boss, reminding us that freedom isn’t always as free as it seems. With its dreamlike cinematography and an absolute banger of a soundtrack (Rihanna’s “We Found Love” has never hit harder), this film captures that intoxicating mix of adventure and aimlessness that comes with being young, broke, and desperate to feel something. | © A24

Girl Lost (2016)

Girl Lost doesn’t hold your hand – it grabs you by the collar and shoves you straight into the dark, unvarnished world of the oldest profession in Los Angeles. Jessica Taylor Haid stars as Shara, a teenage girl whose childhood is effectively stolen from her when her own mother, played with chilling detachment by Robin Bain (who also wrote and directed the film), forces her into prostitution. It’s grim, it’s uncomfortable, and it makes zero effort to glamorize anything about the industry. The film is low-budget but uses that to its advantage, giving it a raw, almost documentary-like quality. Unlike Hollywood’s usual polished portrayals of this world, Girl Lost keeps things brutally honest – no billionaire saviors, no glossy montages, just a devastating glimpse into the lives of those who fall through society’s cracks. If you’re in the mood for something light, maybe save this one for another day. | © Cinema Epoch

The Florida Project (2017)

No movie has ever made a run-down motel in Orlando look this heartbreakingly magical. Sean Baker once again brings his signature blend of raw realism and vibrant energy to The Florida Project, a film that follows six-year-old Moonee (played by the ridiculously charming Brooklynn Prince) as she turns poverty into adventure, all while her struggling mother (Bria Vinaite) scrapes by on the fringes of society. Willem Dafoe delivers a career-best performance as the gruff-but-soft-hearted motel manager who tries (and often fails) to keep some order in the chaos. The film is both a love letter to childhood innocence and a gut-punch reminder of the economic divide in America. By the time the final scene rolls around, you’ll either be in awe or in tears – or, more likely, both. | © A24

Good Time (2017)

Imagine the worst night of your life. Now imagine it directed by the Safdie brothers and starring a bleach-blond, scumbag-charming Robert Pattinson. That’s Good Time, a relentless, neon-lit, anxiety-inducing ride through the underbelly of New York City. Pattinson plays Connie, a small-time crook whose botched bank robbery leaves his mentally disabled brother (played by Benny Safdie) in police custody. What follows is a breathless, desperate series of bad decisions, as Connie spirals deeper into the city’s darkest corners, trying to fix everything but only making it worse. The pounding electronic score by Oneohtrix Point Never adds to the manic energy, making this feel less like a movie and more like an actual heart attack. | © A24

Climax (2018)

Gaspar Noé never just makes a movie – he crafts an experience designed to scramble your brain, and Climax is no exception. What starts as a hypnotic, beautifully choreographed dance rehearsal quickly spirals into a psychedelic nightmare when someone spikes the sangria with LSD. Sofia Boutella leads the insanely talented cast of dancers who go from euphoric to unhinged in record time, as the camera snakes through their hellish trip with dizzying long takes. It’s mesmerizing, disturbing, and – if you’ve ever had a bad trip – probably a little too real. With its pulsating soundtrack, neon-drenched visuals, and absolute disregard for traditional storytelling, Climax feels like being trapped inside a fever dream you can’t escape. You’ll either love it or absolutely hate it, but either way, you won’t forget it. | © A24

Crazy Rich Asians (2018)

If Cinderella had an unlimited Amex Black Card and a disapproving future mother-in-law played by the always regal Michelle Yeoh, you’d get Crazy Rich Asians – a rom-com so opulent, even the wallpaper deserves its own IMDb credit. Constance Wu shines as Rachel, an NYU professor who thinks she’s just meeting her boyfriend’s (Henry Golding, effortlessly charming) family, only to realize she’s stepped into a Singaporean billionaire soap opera. Enter Awkwafina as the hilarious best friend, gem-studded gowns worth more than your student loans, and a wedding scene so lavish it makes Versailles look minimalist. It’s fun, it’s extravagant, and it single-handedly proved that Hollywood was long overdue for an all-Asian blockbuster that wasn’t about kung fu. | © Warner Bros.

Hustlers (2019)

If The Wolf of Wall Street and Magic Mike had a baby – and that baby stole from sleazy Wall Street guys – you’d get Hustlers. Inspired by a true story (because real life is always messier and juicier than fiction), this film stars Jennifer Lopez in full “I am a goddess” mode as Ramona, a seasoned stripper who takes newbie Destiny (Constance Wu, once again showing her range) under her fur-draped wing. Cardi B and Lizzo pop in for cameos, Keke Palmer and Lili Reinhart join the con, and before you know it, this crew is drugging rich men and draining their bank accounts like Robin Hood in six-inch heels. It’s glossy, empowering, and has a J.Lo pole dance routine so mesmerizing it should be preserved in the Library of Congress. | © STXfilms

Zola (2021)

Never has a Twitter thread been adapted into a film with such chaotic brilliance as Zola. Based on the viral saga that launched a thousand memes, this film follows Taylour Paige as the titular Zola, a waitress turned unwilling exotic dancer, who gets lured into a weekend of madness by the world’s most problematic new bestie, Stefani (played to cringe perfection by Riley Keough). The movie is all flashing neon, unpredictable tension, and the kind of energy that makes you feel like you shouldn’t be watching – but you can’t look away. Nicholas Braun (a.k.a. Cousin Greg from Succession) shows up as the world’s most clueless boyfriend, while Colman Domingo steals scenes as a pimp with a terrifyingly unpredictable temper. It’s sleazy, hilarious, and just the right amount of absurd. | © A24

The Worst Person in the World (2021)

Not since Fleabag has a character been so painfully relatable and yet so frustratingly chaotic as Julie, the not-so-tragic heroine of The Worst Person in the World. Played with effortless charm by Renate Reinsve (who rightfully won Best Actress at Cannes), Julie is a woman in her late 20s making questionable life choices, dodging commitment, and spiraling into existential dread – so, basically, all of us at some point. The film, directed by Joachim Trier, is part rom-com, part coming-of-age story, part meditation on how life never really turns out the way we planned. It’s funny, heartbreaking, and painfully real, with Anders Danielsen Lie delivering one of the most devastating monologues in recent memory. If you’ve ever felt like you were winging your entire existence, this movie gets you. | © NEON

Red Rocket (2021)

Sean Baker has a gift for making movies about people society usually ignores, and Red Rocket is no exception. Simon Rex – yes, the guy from Scary Movie – gives a career-redefining performance as Mikey Saber, a washed-up adult film star who slithers back to his Texas hometown, mooching off his estranged wife and eyeing a much-too-young donut shop worker (Suzanna Son, both angelic and unnerving). It’s darkly hilarious, uncomfortably real, and somehow makes the grimiest corners of small-town America look weirdly beautiful. Like Baker’s other films, it’s bursting with raw, human moments that make you laugh one second and wince the next. By the end, you’ll both hate and pity Mikey, which is exactly the point. | © A24