The 20 Best Portrayals of Narcissism in Cinema

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Ignacio Weil

Entertainment - August 9th 2025, 15:00 GMT+2

Cropped Tár 2022 Lydia Tár — Tár (2022) – Lydia Tár

The podium in *Tár* isn’t just for music – it’s a stage for control, and Lydia Tár uses it like a weapon. Cate Blanchett’s performance is magnetic, layering brilliance, arrogance, and manipulation into a single, seamless persona. The film quietly unpacks how someone at the height of their craft can start believing their own myth, until self-awareness gives way to self-worship. Every interaction becomes a power play, every pause in rehearsal a reminder of who’s in charge. Watching her fall from grace is like hearing a symphony slowly come apart – still beautiful, but undeniably broken. It’s both a character study and a warning about the corrosive nature of unchecked ego. | © Focus Features

Cropped Uncut Gems 2019 Howard Ratner — Uncut Gems (2019) – Howard Ratner

Some people chase adrenaline; Howard Ratner mainlines it. *Uncut Gems* throws you into the chaos of a man who treats every reckless gamble like a guaranteed win, even as the walls close in. Adam Sandler disappears into the role, transforming charm into a dangerous form of self-delusion. The Safdie brothers’ relentless pacing mirrors Howard’s own inability to slow down, making the film feel like a two-hour panic attack in the best possible way. His narcissism isn’t cold or calculated – it’s hot-blooded and impulsive, built on the belief that the world owes him just one more lucky break. The tragedy is that he can’t stop long enough to see how much he’s already lost. | © A24

Cropped I Tonya 2017 La Vona Golden — I, Tonya (2017) – LaVona Golden

With a fur coat on her back and a parrot perched on her shoulder, LaVona Golden storms into *I, Tonya* like she owns the rink. Allison Janney delivers a performance that turns narcissism into an art form – acid-tongued, brutally funny, and unflinchingly self-serving. LaVona doesn’t just take up space; she demands it, twisting every conversation to prove she’s the toughest person in the room. The brilliance of the portrayal lies in how disturbingly believable it feels, even at its most outrageous. You laugh, you cringe, and you start to see the damage that comes from a lifetime of unapologetic self-absorption. In her mind, she’s not the villain – she’s the only one telling the truth. | © Neon

Cropped Nightcrawler 2014 Lou Bloom — Nightcrawler (2014) – Lou Bloom

Los Angeles glows at night, but for Lou Bloom, it’s just the perfect hunting ground. *Nightcrawler* paints narcissism as something methodical and eerily polite, with Jake Gyllenhaal turning in one of the most unsettling performances of his career. Lou doesn’t just want to succeed – he wants to own the definition of success, bending morality until it breaks. Every handshake is a transaction, every smile a performance, every conversation an audition for the role he’s already cast himself in. The deeper you follow him into his late-night world of crime journalism, the more you realize there’s no line he won’t cross. By the end, his self-belief feels almost supernatural, and that’s what makes him terrifying. | © Open Road Films

Cropped Gone Girl 2014 Amy Dunne — Gone Girl (2014) – Amy Dunne

Not all narcissists crave applause – some just want to write the script and control the ending. In *Gone Girl*, Amy Dunne orchestrates her own disappearance with the precision of a director crafting an Oscar contender. Rosamund Pike’s performance is icy perfection, turning calculated self-presentation into both a shield and a blade. The film makes you complicit in her game, pulling you along as she manipulates public opinion, personal relationships, and even the truth itself. Every twist feels inevitable in hindsight, because Amy is always five moves ahead. It’s a chilling reminder that sometimes the most dangerous ego is the one hidden behind a flawless smile. | © 20th Century Fox

Cropped Whiplash 2014 Terence Fletcher — Whiplash (2014) – Terence Fletcher

Greatness, according to Terence Fletcher, isn’t born – it’s beaten into you with enough verbal whiplash to leave scars. *Whiplash* turns the rehearsal room into a battlefield where every bar of music is a test of endurance. J.K. Simmons embodies Fletcher with a terrifying precision, balancing charisma with cruelty so seamlessly it’s hard to tell where mentorship ends and ego begins. His obsession with pushing students past their limits is as much about his own legacy as their potential. Every drum hit feels like a duel, and every insult like a calculated move to assert dominance. It’s a masterclass in how narcissism can disguise itself as high standards. | © Sony Pictures Classics

Cropped The Wolf of Wall Street 2013 Jordan Belfort — The Wolf of Wall Street (2013) – Jordan Belfort

Excess has never looked so fun – or so corrosive – as it does in *The Wolf of Wall Street*. Jordan Belfort’s rise and fall is a whirlwind of yachts, drugs, and speeches so slick they could sell air to a drowning man. Leonardo DiCaprio plays him with boundless energy, turning greed into a spectator sport and ego into a religion. Martin Scorsese directs the chaos like a carnival barker, daring you to look away while the wheels spin off. Belfort’s narcissism isn’t subtle – it’s loud, proud, and completely unapologetic, the kind that thrives on the roar of the crowd. By the end, you’re left both entertained and exhausted, wondering if you just watched a comedy, a tragedy, or both. | © Paramount Pictures

Cropped Young Adult 2011 Mavis Gary — Young Adult (2011) – Mavis Gary

For Mavis Gary, the past isn’t just a memory – it’s a stage she refuses to leave. *Young Adult* follows a ghostwriter returning to her hometown, convinced she can reclaim both her high school glory and her ex-boyfriend. Charlize Theron gives Mavis a brittle charm, making her both magnetic and infuriating in equal measure. The humor is dark, the cringe is real, and the narcissism is wrapped in just enough self-delusion to keep her convinced she’s the misunderstood heroine. Diablo Cody’s sharp writing ensures that every awkward encounter cuts just deep enough. It’s a comedy of discomfort that refuses to let its protagonist – or the audience – off the hook. | © Paramount Pictures

Cropped There Will Be Blood 2007 Daniel Plainview — There Will Be Blood (2007) – Daniel Plainview

Oil may be Daniel Plainview’s business, but domination is his true calling. *There Will Be Blood* crafts a portrait of ambition so ruthless it becomes almost mythic, with Daniel Day-Lewis delivering a performance that feels hewn from stone. Plainview’s charm is transactional, his generosity a prelude to conquest, and his narcissism as deep as the wells he drills. Paul Thomas Anderson’s epic frames him against vast, empty landscapes – fitting for a man who values nothing but his own triumph. By the end, it’s clear that his wealth isn’t the victory; the victory is having no one left to challenge him. This is ego on a geological scale. | © Miramax Films

Cropped The Devil Wears Prada 2006 Miranda Priestly — The Devil Wears Prada (2006) – Miranda Priestly

The clack of heels, the icy stare, the withering pause – Miranda Priestly doesn’t need to raise her voice to command a room. *The Devil Wears Prada* gives Meryl Streep one of her most iconic roles, a masterclass in understated domination. Miranda’s narcissism is polished to perfection, hidden behind couture and whispered commands that carry more weight than any shout. Every compliment is a test, every demand a reminder of who truly runs the show. The film revels in the intoxicating pull of her authority, even as it exposes the loneliness that comes with living at the top. It’s power dressed in Prada, with a touch of frost. | © 20th Century Fox

Cropped White Oleander 2002 Ingrid Magnussen — White Oleander (2002) – Ingrid Magnussen

Ingrid Magnussen doesn’t just enter a room – she occupies it like a storm cloud in silk. *White Oleander* paints her as both muse and menace, a woman whose elegance hides a deeply manipulative streak. Michelle Pfeiffer brings icy precision to the role, making every smile feel like the start of a carefully calculated move. Ingrid’s narcissism is maternal only in name; her need to control extends far beyond love into territory that feels like ownership. The film explores the long shadow she casts over her daughter’s life, proving that influence can be as intoxicating as it is poisonous. Beauty, in her hands, becomes another weapon. | © Warner Bros. Pictures

Cropped American Psycho 2000 Patrick Bateman — American Psycho (2000) – Patrick Bateman

The business card scene alone could serve as a masterclass in cinematic narcissism. In *American Psycho*, Patrick Bateman polishes his self-image with the same obsessive care he gives to his morning skincare routine. Christian Bale turns the role into a chilling cocktail of charm, vanity, and violence, where appearances matter more than morality. Bateman’s world is a hollow temple to status, and he’s both its priest and its most devout worshiper. The film’s dark humor makes his vanity all the more unsettling, revealing how dangerous self-obsession can become when paired with complete moral vacancy. It’s style as a mask for something much darker. | © Lions Gate Films

Cropped The Talented Mr Ripley 1999 Tom Ripley — The Talented Mr. Ripley (1999) – Tom Ripley

Some people reinvent themselves; Tom Ripley erases and rewrites entirely. *The Talented Mr. Ripley* follows a man who treats identity like a wardrobe – something to be worn, swapped, and stolen as needed. Matt Damon plays Ripley with unnerving subtlety, letting the charm come first, and the danger slip in quietly behind it. His narcissism lies not just in wanting a better life, but in believing he deserves someone else’s without question. Anthony Minghella’s lush direction turns Italy into both paradise and hunting ground. By the end, you realize Ripley’s greatest con is convincing himself he’s the hero of his own story. | © Paramount Pictures

Cropped To Die For 1995 Suzanne Stone — To Die For (1995) – Suzanne Stone

Suzanne Stone doesn’t dream of fame – she breathes it. In *To Die For*, Nicole Kidman delivers a gleaming portrait of ambition so self-absorbed it blurs into delusion. Suzanne’s pursuit of the spotlight is relentless, whether she’s charming an audience or manipulating teenagers into carrying out her schemes. Gus Van Sant wraps the satire in bright, cheery visuals, making her darkness all the more biting. Every line, every outfit, every calculated gesture screams “camera-ready.” It’s a sharp reminder that for some, self-worth is measured entirely in airtime. | © Columbia Pictures

Cropped Beauty and the Beast 1991 Gaston — Beauty and the Beast (1991) – Gaston

Animated films don’t often give us narcissists this delightfully over-the-top. Gaston, in Disney’s *Beauty and the Beast*, is vanity incarnate – every muscle flexed, every compliment taken as gospel truth. He’s not just the most handsome man in town; he’s the yardstick by which all others are found lacking, at least in his own mind. His narcissism is played for laughs, but it’s also a sly commentary on entitlement and fragile ego. The bigger the threat to his image, the more dangerously determined he becomes. By the time the torches are lit, Gaston’s self-love has twisted into something far more sinister. | © Walt Disney Pictures

Cropped Scarface 1983 Tony Montana — Scarface (1983) – Tony Montana

The American Dream looks a lot different when Tony Montana is chasing it. *Scarface* follows his meteoric rise from refugee to drug kingpin, powered by a belief that no amount of money or power will ever be enough. Al Pacino gives Tony a swagger that’s part charm, part threat, and entirely built on self-made myth. His narcissism fuels every bold move and every catastrophic mistake, turning ambition into a ticking time bomb. The neon excess and operatic violence are unforgettable, but it’s Tony’s refusal to see beyond his own ego that seals his fate. In his world, it’s always about him – until it isn’t. | © Universal Pictures

Cropped Mommie Dearest 1981 Joan Crawford — Mommie Dearest (1981) – Joan Crawford

“Bring me the axe!” might be the film’s most infamous line, but *Mommie Dearest* is less about camp and more about control. Faye Dunaway transforms Joan Crawford into a figure of glamorous terror, wielding her beauty, fame, and authority like blunt instruments. The film presents a narcissism that thrives in both public adoration and private domination, especially over her adopted children. Every perfectly coiffed scene is a performance, even when there’s no audience – because in Joan’s world, there’s always an audience. It’s a chilling reminder that image can be armor, and sometimes, a weapon. | © Paramount Pictures

Cropped The Great Santini 1979 Lt Col Bull Meechum — The Great Santini (1979) – Lt. Col. Bull Meechum

Family life under Bull Meechum is less about love and more about obedience. *The Great Santini* delivers a military father whose narcissism is wrapped in discipline, turning every interaction into a test of loyalty. Robert Duvall plays him with an intensity that swings between charismatic and tyrannical, making it easy to see how his family both fears and craves his approval. The film examines how ego can masquerade as leadership, and how control often comes at the cost of connection. Bull’s idea of fatherhood leaves little room for vulnerability – especially his own. In the end, his need to dominate is as isolating as it is commanding. | © Orion Pictures

Cropped Citizen Kane 1941 Charles Foster Kane — Citizen Kane (1941) – Charles Foster Kane

Few films have dissected the narcissist’s journey as brilliantly as *Citizen Kane*. Orson Welles crafts Charles Foster Kane as a man who collects power, possessions, and people with the same casual greed, all while chasing the validation he never quite finds. The film’s fractured timeline reveals how charm curdles into arrogance, and ambition into loneliness. Kane’s towering achievements feel hollow because they’re built on the shifting sands of self-image. “Rosebud” might be the key to his heart, but it’s also the one thing he can’t buy or control. It’s the definitive cautionary tale of a life spent looking in the mirror. | © RKO Radio Pictures

Cropped Gone With the Wind 1939 Scarlett O Hara — Gone With the Wind (1939) – Scarlett O’Hara

Scarlett O’Hara doesn’t survive the Civil War by luck – she survives by sheer force of will and an ego that refuses to bow to circumstance. *Gone With the Wind* gives Vivien Leigh a role that’s as fiery as it is flawed, portraying a woman who values charm, beauty, and personal gain above all else. Scarlett’s narcissism is her shield, her weapon, and sometimes her undoing, driving her to manipulate everyone in her orbit. Yet, it’s that same self-focus that keeps her standing when the dust settles. The film leaves you torn between admiring her grit and recoiling from her selfishness – a true testament to the power of a complicated antihero. | © Metro-Goldwyn-Mayer

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From silver-tongued manipulators to magnetic leaders blinded by ego, narcissistic characters have long captivated audiences. They can be charming or cruel, inspiring or destructive – and often, they’re a little bit of all those things at once. In cinema, narcissism isn’t just a personality trait; it’s a driving force that shapes entire narratives, revealing the fragile line between self-confidence and self-absorption.

In this roundup, we explore the 20 best portrayals of narcissism in film, highlighting performances and stories that capture the charm, danger, and complexity of this trait. These movies don’t just depict narcissists; they invite us to question our own relationship with ambition, self-image, and power. Whether you’re fascinated by psychological character studies or simply love unforgettable performances, this list offers a front-row seat to some of the most compelling ego-driven stories ever put on screen.