Here are Cinephile Corner’s 10 recommendations for movies like In Fabric:
Last Night in Soho
Few directors are as defined by their style as Edgar Wright, and Last Night in Soho is a movie that thrives when it fully embraces that signature flair. From its bold lighting choices and meticulously curated soundtrack to the seamless fusion of past and present, this film is an exercise in aesthetic precision. Starring Thomasin McKenzie and Anya Taylor-Joy, it’s a visually dazzling, nostalgia-drenched psychological thriller that starts strong but ultimately falters in its final act.
The Substance
A vaguely named, neon green liquid is at the center of The Substance, the sophomore effort from director Coralie Fargeat following her successful debut Revenge (2017). The titular substance is capable of delivering happiness to those desiring to look younger and more attractive. Accompanied by a strict list of rules involving when to take the substance and how to maintain the younger self the injection inevitably births, the chances of a user mishandling such a lethal experimental drug is absurdly high.
The Monkey
The Monkey is a middling but watchable entry in the 2025 horror slate. It doesn’t reach the high bar set by of Oz Perkin’s best films, nor does it fully honor the emotional undercurrents of King’s original story, but it’s never boring. If nothing else, it reaffirms Oz Perkins as a horror director worth watching—even when the material doesn’t quite land.
Kinds of Kindness
As a side project conceived during the creation of Poor Things, Kinds of Kindness is quite the undertaking for Yorgos Lanthimos. The movie is hefty and left with a lot of gristle. While the performances of the cast suggest a film trying to have a lot of fun, the lack of cohesion took me out of a movie overstaying its welcome.
Saltburn
Emerald Fennell‘s sophomore movie, Saltburn, emerges from the rubble of her polarizing debut, Promising Young Woman, with a cast that elevates the material despite its endlessly convoluted and plainly put narrative. This comedy-drama-thriller hybrid film weaves a perplexing tale of obsession, deception, and tragedy within the confines of the aristocratic Catton family’s titular estate.
Nosferatu
Robert Eggers might already be one of the greatest filmmakers of our time. Sure, it’s silly and hyperbolic to say that so early in his career, but few directors today can craft arthouse movies on the scale of his latest work, Nosferatu, and make it look so effortless. The subject matter feels like a natural progression from his earlier explorations of isolation and dread in The Witch, The Lighthouse, and The Northman. Here, Eggers reimagines the classic vampire tale with precise, stomach-churning detail, delivering a vision that both honors the original and reinvents it as a sadistic, psychosexual nightmare.
Poor Things
At the heart of Poor Things is Emma Stone‘s exceptionally dedicated performance, making a compelling case for her second Oscar for Best Actress. Her willingness to embrace daring characters and collaborate with auteurs like Yorgos Lanthimos reinforces her status as one of the industry’s leading performers.
Lost Highway
Lost Highway is the most underappreciated David Lynch movie, one that served as an introduction to where he’d be heading in the early 2000s on. Because Lost Highway doesn’t make much sense, and the illogical, beguiling snippets and vignettes that take place within the movie are of a similar nature to Mulholland Drive and Inland Empire. And while Lost Highway is slightly less operatic than Mulholland Drive (and much less indulgent than Inland Empire), it’s still one of Lynch’s best movies, and one of the best movies of the 1990s, period.
The Menu
A mixed bag of ideas and food for thought, Mark Mylod‘s The Menu still excels with winking characters and great visual design. The movie struggles to establish much beyond its own genre beats, but that doesn’t take much away from the crowd-pleasing journey the film goes on.
Men
Now nearly two years removed from its initial release date, Alex Garland’s Men for A24 feels underrated. A body horror home invasion movie featuring one of Hollywood’s best actresses in Jessie Buckley, the film is a shift in tone and themes from Garland’s previous works, transitioning from stories involving anxiety we have about the advancement of technology, to the societal and gender issues that plague our society.
