10 Movies Like Gerald’s Game You Must Watch Now | Similar-List

You're certainly not alone if you found yourself unsettled by Gerald's Game. Stephen King’s 1992 psychological horror novel plunges deep into the intersection of trauma, eroticism, and death—a blend that is rarely explored with such raw, visceral intensity. The 2017 Netflix adaptation, directed by Mike Flanagan, elevates the story of Jessie Burlingame's horrific ordeal, blending stark physical terror with an exploration of her darkest psychological recesses. The film succeeds not only because of its shocking imagery but also because of how it grapples with uncomfortable themes of mortality, sexual vulnerability, and trauma.

The premise is simple yet profoundly disturbing: Jessie’s attempt at a consensual, erotic game with her husband turns into a fight for survival after he unexpectedly dies, leaving her handcuffed to the bed in an isolated cabin. As the story unfolds, Jessie is forced to confront her most harrowing memories and traumas, which reach their climax through a psychologically and physically exhausting ordeal. Gerald’s Game isn’t just a story about a woman trapped in a nightmare; it’s an exploration of how vulnerability—particularly sexual vulnerability—can intersect with fear and death in a way that few other films dare to depict.

While Gerald's Game stands out as an exceptionally unsettling work, it is far from the only film to navigate the dangerous waters where eroticism and death collide. Over the years, numerous films have ventured into these dark territories, offering chilling meditations on desire, power, and mortality. If you're drawn to films that blur the lines between erotic tension and visceral horror, here are ten films that share similar thematic DNA with Gerald’s Game.

At the core of Gerald's Game is an unflinching examination of the relationship between sexual vulnerability and death. What begins as a simple scenario—Jessie and her husband, Gerald, experimenting with handcuffs—quickly spirals into something far more sinister. The erotic element that initially seems innocent soon gives way to a terrifying struggle for survival. This stark juxtaposition of pleasure and horror makes the film so unique.

10 Movies Like Gerald’s Game You Must Watch Now

Stoker (2013)

Stoker (2013), directed by Park Chan-wook, is a mesmerizing yet unsettling psychological thriller that expertly navigates the disturbing interplay of grief, obsession, and familial bonds. The film centers around India, a reclusive and emotionally scarred teenager, and her mother, Evelyn, who are left to pick up the pieces after the sudden death of Richard, the family patriarch. The tension escalates when Richard’s estranged brother, Charlie, arrives to stay with them, and what begins as a seemingly innocent visit soon spirals into a web of manipulation and desire.

With his charm and mysterious aura, Charlie quickly becomes the focal point of the household's unraveling dynamic. His presence disrupts the fragile relationship between mother and daughter, as both women find themselves strangely drawn to him. For India, Charlie’s arrival ignites her latent sexual curiosity and confusion, while Evelyn, in the throes of her grief and unspoken desires, becomes emotionally entangled with her brother-in-law. A twisted game of attraction, power, and manipulation unfolds, where familial ties are twisted into something darkly seductive.

The film’s exploration of psychological deviance is heightened by its visually arresting style, blending haunting imagery with slow-burn suspense. Much like Gerald’s Game, Stoker dives into the discomforting intersection of sexual awakening and emotional trauma, creating an unsettling narrative that is as intellectually engaging as it is. The film examines how desire can morph into something dangerous and all-consuming as the characters grapple with their feelings of isolation, grief, and the craving for control.

Ultimately, Stoker explores the complexities of human desire and the dangerous power dynamics that can emerge in the wake of loss. With its atmospheric tension, vivid characters, and unsettling twists, it stands as a gripping, dark counterpart to Gerald’s Game—perfect for those who are drawn to films that probe the uncomfortable convergence of sexuality, death, and psychological horror.

Thelma (2017)

Thelma (2017), directed by Joachim Trier, is a mesmerizing blend of supernatural horror and psychological thriller that explores themes of repressed sexuality, self-discovery, and the terrifying consequences of hidden desires. Much like Gerald’s Game, Thelma delves into the complexities of the human psyche, using horror as a lens to examine the tension between control and release, innocence and corruption.

The film follows Thelma, a shy and religious young woman who leaves her conservative family to attend university in Oslo. Initially, she struggles with her emerging feelings for a fellow student, Anja, but as her attraction deepens, so do her terrifying and uncontrollable powers. These powers, which she can neither understand nor control, manifest in violent and destructive ways, leading Thelma to question not only her sexual awakening but the very nature of her existence.

Like Gerald’s Game, Thelma is a study of psychological tension and bodily horror, where the protagonist’s journey is intertwined with the unraveling of both her inner world and her external reality. Thelma’s struggle to accept her desires and come to terms with her supernatural abilities echoes Jessie’s battle in Gerald’s Game—a fight for autonomy, survival, and self-realization. The haunting imagery and slow-burn pacing heighten the sense of dread, creating a palpable atmosphere of fear that is just as much about internal conflict as it is about external threat.

At its core, Thelma is about the dark, primal forces that emerge when we confront our deepest desires and how society’s suppression of those desires can lead to explosive consequences. The film interrogates the concept of forbidden love and the power dynamics that are both psychological and physical. Whether it's through Thelma's growing realization of her powers or her struggle with her sexual identity, the film presents a chilling meditation on how repression can lead to uncontrollable and often destructive consequences.

For viewers drawn to the unsettling combination of eroticism, horror, and psychological tension seen in Gerald’s Game, Thelma offers a similarly thought-provoking and disturbing narrative. The film’s delicate balance between the supernatural and the deeply personal makes it a compelling exploration of desire, fear, and power—a perfect follow-up for those fascinated by the darker undercurrents of the human experience.

Hush (2016)

Hush (2016), directed by Mike Flanagan, is a gripping and relentlessly tense horror-thriller that takes the home invasion genre to unsettling new heights. Much like Gerald’s Game, Hush expertly blends psychological terror with survival horror, crafting a nightmarish experience that is as emotionally harrowing as it is physically intense. The film’s most unique element lies in its protagonist, Maddie, a deaf woman who lives alone in a secluded house, forced to confront an intruder who is bent on her destruction.

The tension in Hush is immediate and palpable, as the film places its protagonist in an incredibly vulnerable position—isolated, unable to hear the threat creeping toward her. The killer, played by John Gallagher Jr., is a silent, calculating predator who taunts Maddie, creating an atmosphere of pure dread. This dynamic, where the victim is aware of the threat but powerless to prevent it, echoes the haunting psychological struggles faced by Jessie in Gerald’s Game. In both films, the fear isn't just physical; it's the suffocating anxiety of being completely exposed and vulnerable, struggling to maintain control in the face of relentless danger.

What makes Hush particularly intriguing in comparison to Gerald’s Game is how it explores the psychological and emotional toll of being hunted and the deeper trauma that haunts the protagonist. For Maddie, the threat of death isn't just about survival—it's about confronting the limitations of her disability, the isolation she feels, and the power dynamics that have always been a part of her life. The killer's sadistic games force Maddie to confront her inner strength and resilience, ultimately turning the tables on her would-be attacker.

In both Hush and Gerald’s Game, the psychological tension comes from the protagonist’s internal struggles as much as the external threat. For Jessie, it’s the deep-seated trauma of her past, while for Maddie, it’s the constant reminder of her vulnerability and the realization that her mind and body may be her only allies in survival. Both films explore themes of powerlessness, control, and the overwhelming fear of death, but they do so through the unique lens of their protagonists' psychological and physical limitations.

Hush is a taut, suspenseful ride that not only delivers edge-of-your-seat thrills but also digs deep into the psychological complexities of fear, survival, and the human will to fight back. For viewers captivated by the psychological horror and themes of empowerment in Gerald’s Game, Hush offers a similarly intense and emotionally charged exploration of vulnerability, fear, and the primal urge to survive.

Allure (2017)

Allure (2017), directed by Carlos and Jason Reitman, is a haunting exploration of the complexities of power, attraction, and manipulation, making it a fitting entry in films similar to Gerald’s Game. The film’s raw portrayal of a toxic, co-dependent relationship between two women—one an older, troubled woman named Laura (Evan Rachel Wood) and the other a young, vulnerable girl named Eva (Julia Sarah Stone)—blurs the lines between emotional obsession, sexual tension, and manipulation, echoing the disturbing dynamics found in Gerald’s Game.

Much like in Gerald’s Game, Allure dives deep into the psychological struggles of its protagonists. The film begins as a seemingly benign tale of an older woman trying to help a young girl escape from a difficult home life, but it quickly transforms into something far darker. Laura, who has her unresolved trauma and unhealthy tendencies, gradually becomes obsessed with Eva. The attraction between them isn't just physical; it is rooted in a deep emotional dependency, where Laura attempts to control Eva through a mixture of affection and coercion. What begins as a nurturing relationship slowly devolves into a toxic and dangerous dynamic as Laura's emotional instability and desire for control take over.

The central themes of Allure—manipulation, power dynamics, and the dangers of emotional entanglement—are also prevalent in Gerald’s Game, where Jessie is trapped in an intimate and terrifying power struggle with her late husband, Gerald. Both films explore how seemingly innocent relationships can quickly spiral into a suffocating web of psychological control and abuse. What sets Allure apart, however, is the unsettling way it portrays the interplay between sexual attraction and manipulation, where the emotional violence is just as damaging, if not more so, than the physical.

One of the most compelling aspects of Allure is its treatment of trauma and the consequences of unresolved emotional pain. Laura’s broken psyche drives much of the film's dark energy, like how Jessie’s traumatic past and deep-seated fears shape the course of Gerald’s Game. In both films, the protagonists' emotional scars are exposed and exploited, making them vulnerable to further exploitation. As Laura and Eva’s relationship grows more manipulative and controlling, the audience is forced to confront uncomfortable truths about how desire and trauma intersect, creating an environment where love and harm are often indistinguishable.

While Allure may not have the same survival horror aspects as Gerald’s Game, it mirrors the latter's psychological intensity and emotional stakes. Both films feature women trapped by their fears and desires, fighting not just against external threats but against the darkness within themselves. Allure is a stark and provocative exploration of how emotional and psychological trauma can warp relationships into something dangerous and destructive, making it a must-watch for those interested in films that delve into the complicated intersections of trauma, sexuality, and power.

For fans of Gerald’s Game, Allure offers a similarly intense and thought-provoking journey into the heart of emotional manipulation, desire, and control. The film’s subtle yet profound approach to its themes makes it a chilling watch that lingers long after the credits roll, much like its predecessor.

Passion (2012)

Passion (2012), directed by Brian De Palma, offers a stylish and unsettling dive into the destructive nature of obsession, power, and desire—key themes that make it an essential companion for fans of Gerald’s Game. This erotic psychological thriller explores the toxic dynamics between two women at the top of the corporate world, their rivalry escalating into a deadly game of manipulation, betrayal, and murder. With its chilling atmosphere and sexually charged tension, Passion presents a twisted narrative of power and desire that will resonate with those who appreciate the darker side of intimate relationships, much like Gerald’s Game.

The film centers around two women, Christine (Rachel McAdams) and Isabelle (Noomi Rapace), who work together in a high-stakes advertising agency. Christine, the older and more experienced of the two, is a powerful figure who controls her career and her personal relationships. Isabelle, a younger, more naive woman, initially admires Christine but soon becomes entangled in a cat-and-mouse game as their professional rivalry grows into a more dangerous, sexually charged competition.

As the tension between the two women intensifies, the lines between love, lust, and power become increasingly blurred. Christine manipulates Isabelle both professionally and emotionally, using her influence to undermine Isabelle’s career and personal life. However, Isabelle is no passive victim. She mirrors Christine’s cold, calculating behavior, ultimately complicating the same games of manipulation and deceit. The film’s most compelling aspect is its portrayal of how power dynamics can be shaped by sexual attraction and how lust, when mixed with resentment and competition, can have deadly consequences.

Much like Gerald’s Game, Passion explores the intersection of sexuality and control, examining how intimate relationships—whether romantic or professional—can devolve into destructive power struggles. In Gerald’s Game, Jessie’s emotional and physical entrapment reflects Christine's emotional manipulation and control over Isabelle. Both films delve deep into the psychology of their characters, exposing how vulnerability and desire can be weaponized to manipulate and dominate.

In Passion, the eroticism is not just about physical attraction but also the psychological tension between the two women. The power dynamics are at the heart of the narrative, with Christine using her sexual allure as a tool for control, while Isabelle, as the victim turned aggressor, ultimately seeks to assert her power. This game of power and manipulation is mirrored in Gerald’s Game, where Jessie’s initial submission to Gerald’s dominance ultimately becomes a struggle for autonomy and survival.

De Palma's direction heightens the psychological suspense, using lush visuals and carefully constructed tension to mirror the characters' emotional turmoil. Passion is a film that lingers long after the final scene, much like Gerald’s Game, forcing the audience to confront uncomfortable truths about the darker aspects of human nature, power, and desire.

For fans of Gerald’s Game, Passion is a fascinating exploration of how the boundaries between eroticism, power, and violence can become dangerously blurred. Both films challenge the conventions of typical thrillers by focusing not just on external threats, but on the internal struggles of their protagonists, forcing them to confront their own darkest impulses. Whether it's through manipulation in the corporate world or the emotionally charged captivity of Gerald’s Game, both films illustrate the devastating effects of unchecked power and the complex interplay of desire, fear, and control.

The Housemaid (2010)

The Housemaid (2010), directed by Im Sang-soo, is a gripping South Korean thriller that combines elements of eroticism, manipulation, and psychological horror—making it a must-see for fans of films like Gerald’s Game. While Gerald’s Game explores the horrors of isolation and vulnerability, The Housemaid delves into the destructive power of infidelity, obsession, and the volatile dynamics between social classes. Like Gerald’s Game, the film confronts uncomfortable truths about the darker sides of human relationships, where desire and power intersect in disturbing ways.

Set in a luxurious, modern home, The Housemaid centers around a young woman named Eun-yi (Jeon Do-yeon), who is hired as a live-in maid for a wealthy family. The family’s patriarch, Mr. Kim (Lee Jung-jae), is an affluent businessman who begins a sexual affair with Eun-yi, ultimately leading to a dangerous power struggle that threatens to unravel the lives of everyone involved. As Eun-yi's position in the house becomes increasingly precarious, her interactions with the family members shift from professional to deeply personal, revealing the toxic and exploitative relationships that underlie the seemingly perfect household.

At the core of The Housemaid is the theme of sexual desire as both a source of power and destruction. Eun-yi's affair with Mr. Kim is not just about physical attraction, but also about the complex ways in which she is manipulated and objectified. As she becomes more entangled in the family's web of secrets, her sense of control over her life diminishes, culminating in a series of horrifying events that expose the darkest facets of desire, betrayal, and revenge. Much like Jessie in Gerald’s Game, Eun-yi’s descent into a nightmare is driven by her vulnerability, which is exploited by those who see her as nothing more than a tool for their desires.

The film's exploration of power dynamics is chillingly similar to the psychological manipulation seen in Gerald’s Game. In both films, women are trapped in situations where their sexuality is used as a weapon against them. In Gerald’s Game, Jessie’s struggle for survival is compounded by her past trauma and the control exerted by her husband. Similarly, Eun-yi’s attempts to regain her sense of agency in The Housemaid are stymied by the manipulative forces around her, especially the obsessive and entitled attitudes of the men who see her as disposable.

The eroticism in The Housemaid is not simply titillating but rather serves as a vehicle for exploring darker themes. The film delves deep into the ways that lust can warp human relationships and lead to devastating consequences. Like Gerald’s Game, where sexual power dynamics escalate into violence, The Housemaid uses the allure of forbidden desire to amplify the tension, showing how physical intimacy can be a pathway to destruction when it is laced with manipulation and control.

Im Sang-soo's direction is meticulous, using visual style and atmosphere to reinforce the claustrophobic sense of entrapment that both Eun-yi and Jessie experience. The lavish yet sterile home in The Housemaid serves as a symbol of both privilege and oppression, much like the isolated cabin in Gerald’s Game. With its polished surfaces and pristine walls, the house becomes a prison for Eun-yi, mirroring Jessie’s struggle for freedom. The sense of entrapment is palpable, creating a haunting sense of certainty that echoes throughout the film.

What makes The Housemaid stand out is its ability to weave complex emotional and psychological layers into a disturbing and thought-provoking thriller. Like Gerald’s Game, the film challenges the audience to confront uncomfortable realities about sexuality, manipulation, and the destructive power of desire. It goes beyond the surface of eroticism and horror, examining how individuals can become pawns in the games played by those with power and privilege.

The Housemaid offers a chilling exploration of power, vulnerability, and sexual manipulation, making it an excellent choice for viewers who appreciate Gerald’s Game. Both films are masterful in their portrayal of the psychological horror that emerges when intimacy is distorted by control and exploitation. Through their relentless tension and exploration of uncomfortable truths, these films force us to reckon with the dangers beneath the surface of seemingly innocent relationships, where lust and power become inextricably linked.

Alone (2020)

Alone (2020) is a taut, gripping survival thriller that taps into the primal fears of isolation, vulnerability, and the intense psychological toll of being hunted. Similar to Gerald’s Game, it explores the dark intersection of fear, survival, and the human psyche, offering a chilling perspective on captivity, control, and the instinct to survive. For fans of Gerald’s Game, Alone takes the concept of entrapment and psychological terror to new, harrowing heights, emphasizing the rawness of human strength and resilience in the face of an almost impossible threat.

The film follows Jessica (played by Jules Willcox), a woman grieving the recent loss of her husband, who finds herself alone in the wilderness after a terrifying encounter with a deranged man. After narrowly escaping a brutal kidnapping, Jessica is forced to flee through an unforgiving landscape while her captor (Marc Menchaca) relentlessly hunts her down. The sense of isolation and the impending danger she faces as she’s stalked and pursued by a calculating, evil force is suffocating and evokes the same survival instincts seen in Gerald’s Game—only this time, Jessica must rely on her wits and willpower to stay alive in the wild, with no one but herself to depend on.

One of the most compelling aspects of Alone is its exploration of psychological and physical horror. Like Gerald’s Game, where Jessie’s vulnerability and captivity drive her to confront her past trauma and fears, Jessica's journey in Alone becomes a fight for survival and her sense of identity and agency. The film cleverly mirrors Jessie’s emotional and psychological transformation as Jessica is forced to confront her deepest fears—both those from her past and the terrifying present danger she faces in the form of her captor. The isolation in the wilderness becomes a reflection of her emotional isolation, where her grief and trauma have left her disconnected from the world.

The dynamic between Jessica and her captor in Alone also echoes the toxic power play seen in Gerald’s Game. In both films, the female protagonists are forced to confront the psychological dominance of a man who seeks to control and overpower them. What elevates Alone is its unrelenting tension and the physical and emotional endurance required from Jessica to escape. Her ability to outsmart and evade her captor highlights the theme of resilience that runs parallel to Jessie’s survival in Gerald’s Game, where both women fight to reclaim control over their bodies and their lives from malevolent forces.

Like Gerald’s Game, Alone excels in creating a suffocating atmosphere of tension, where the viewer shares in the constant fear of being watched, hunted, and cornered. The film does not rely heavily on gore or gratuitous violence but rather on the mounting psychological pressure that comes with the threat of death and the haunting reality of being entirely alone. This psychological horror, amplified by the relentless pursuit of a menacing, almost predatory figure, is what makes Alone such a compelling and terrifying watch for fans of Gerald’s Game.

Another striking similarity between the two films is the focus on survival as a deeply internal battle. While both women face very different types of physical captivity—Jessie is trapped in a handcuff with no escape, while Jessica is physically pursued in a vast wilderness—the mental and emotional struggles they endure are strikingly similar. In both films, the heroines are forced to dig deep within themselves to find strength, to confront their past trauma, and to navigate the psychological toll of being both physically and emotionally hunted.

Visually, Alone uses the starkness of the natural world to its advantage. The vast, untamed wilderness serves as both a beautiful yet haunting backdrop, emphasizing Jessica’s loneliness and vulnerability in the face of the overwhelming landscape. Much like the confined, claustrophobic setting of Gerald’s Game, the environment in Alone becomes a character in itself—reflecting the protagonist’s mental state while also underscoring the harshness of her struggle for survival.

In terms of pacing, Alone is relentless in its tension, with the film expertly building suspense as Jessica’s survival instincts are pushed to their breaking point. The emotional stakes are high, and as the narrative unfolds, viewers are not only caught up in the physical chase but also in Jessica’s internal struggle as she fights to preserve her sanity and stay one step ahead of her captor.

In conclusion, Alone is a gripping thriller that perfectly complements films like Gerald’s Game in its exploration of psychological horror, survival, and the complexities of power dynamics in life-or-death situations. Both films delve into the deepest fears of their protagonists, using their isolation and captivity as a lens to explore themes of control, vulnerability, and personal strength. For those drawn to stories of women confronting intense, life-threatening situations where their resilience and willpower are the only things standing between them and death, Alone is an excellent choice that will keep you on the edge of your seat until the very end.

Body Double (1984)

Brian De Palma's Body Double (1984) is an unforgettable psychosexual thriller that echoes the unsettling tension and psychological complexity found in Gerald's Game. Known for its exploration of voyeurism, obsession, and the blurred lines between eroticism and danger, Body Double offers a gripping narrative filled with suspense, dark desire, and a deep dive into the human psyche. If you're drawn to films like Gerald’s Game that fuse psychological torment with elements of physical horror, Body Double is a must-watch.

The film follows Jake Scully (Craig Wasson), an actor struggling with personal and professional setbacks, who becomes embroiled in a web of voyeuristic obsession after he’s hired to house-sit in a luxurious home. Through a series of bizarre events, Jake witnesses a woman named Gloria (Deborah Shelton) being murdered through his telescope, an act that sends him spiraling into a world of paranoia, deception, and psychological disintegration. As Jake attempts to uncover the truth behind the murder, he finds himself deeper in a complex psychological labyrinth where his obsessions with both Gloria and his own identity blur dangerously with reality.

Much like Gerald’s Game, Body Double explores the dark undercurrents of power dynamics, control, and desire. In Gerald’s Game, the protagonist Jessie’s physical captivity forces her to confront past trauma and power imbalances in her marriage, while in Body Double, Jake is entangled in a voyeuristic game that echoes his own desires for control, validation, and escape. The film’s focus on Jake’s spiraling obsession with the murdered woman and his increasing inability to differentiate fantasy from reality mirrors the internal struggles seen in Gerald’s Game, where Jessie’s physical entrapment also forces a reckoning with her own identity and survival instincts.

The film’s use of voyeurism as a central theme is a perfect parallel to the emotional and psychological entrapment explored in Gerald’s Game. Just as Jessie is physically trapped in a hotel room, Jake becomes trapped in the world of his own watching. His passive role as an observer of someone else’s life forces him to confront his own repressed desires, fears, and guilt—much in the same way that Jessie’s own struggle for survival pushes her to face her inner demons. The act of watching, whether through a telescope or through the lens of memory, is a form of control in Body Double, and like Gerald’s Game, it underscores how deeply linked control, desire, and trauma can be.

Visually, Body Double is a masterclass in tension and atmosphere, with De Palma using his signature cinematic style to craft scenes that evoke both desire and dread. The film's aesthetic—bold colors, dramatic lighting, and unsettling imagery—enhances the sense of paranoia and instability that runs through the narrative. In particular, the voyeuristic sequences are designed to provoke a sense of unease and vulnerability, much like Jessie’s experience in Gerald’s Game, where her physical entrapment leaves her exposed not only to external danger but also to the most intimate parts of her own past.

Another striking parallel between Body Double and Gerald’s Game is the way both films explore the intersection of sexuality and violence. While Gerald’s Game delves into themes of sexual vulnerability and trauma through Jessie’s past and present struggles, Body Double plays with similar ideas by drawing attention to the ways in which sexual desire and violence are often inextricably linked. The film’s suspense is amplified by the underlying tension between Jake’s sexual fantasies, the violence he witnesses, and the blurred line between victim and perpetrator. Both films, in their own way, examine the dangers of unresolved desire and the psychological toll it takes on those who are caught in its grip.

The pacing of Body Double also mirrors the slow-burn tension of Gerald’s Game. The film builds its suspense gradually, with moments of high tension followed by periods of disorienting confusion, much like Jessie’s struggle to maintain clarity and control in Gerald’s Game. Just as Jessie’s mental state unravels as she confronts her trauma and attempts to survive, Jake’s descent into paranoia and obsession becomes more disorienting as the lines between his fantasies and reality blur. The film’s intricate plot, which keeps the audience guessing about what’s real and what’s not, mirrors the psychological twists and turns that make Gerald’s Game so unsettling.

One of the most compelling aspects of Body Double is how it presents the female character, Gloria, as both an object of desire and a victim of violence. This dynamic speaks to the same gendered power imbalance explored in Gerald’s Game, where Jessie must confront the ways in which her desires and vulnerabilities were exploited by the men in her life. The film, like Gerald’s Game, ultimately challenges the viewer to question how society views and treats women in both life and death, especially when those women are reduced to mere objects of male gaze and desire.

In conclusion, Body Double is a film that not only stands as a captivating psychological thriller but also as a thought-provoking exploration of the intersection between voyeurism, desire, and violence—similar to the themes explored in Gerald’s Game. For those who appreciate films that challenge the boundaries of psychological horror and psychosexual tension, Body Double offers an equally disturbing and compelling narrative. It is a chilling reminder of how deeply our darkest desires can intertwine with the most terrifying realities.

Eyes Wide Shut (1999)

Stanley Kubrick's Eyes Wide Shut (1999) is a provocative psychological thriller that, much like Gerald’s Game, explores the dark complexities of human desire, sexual vulnerability, and the often dangerous intersections between fantasy and reality. The film, Kubrick’s final work before his death, delves into themes of jealousy, obsession, and the consequences of repressed desires. Its haunting atmosphere and slow-burning tension create a narrative that is both mesmerizing and deeply unsettling, making it an ideal recommendation for those who enjoy the psychological and emotional depth of Gerald’s Game.

The story follows Dr. Bill Harford (Tom Cruise), a successful New York doctor who embarks on a nightmarish journey into the secretive world of sexual obsession after his wife, Alice (Nicole Kidman), confesses to having sexual fantasies about another man. This revelation triggers Bill’s spiraling descent into a series of encounters that blur the line between reality and fantasy. From a forbidden encounter with a woman in a nightclub to his infiltration of a secret society’s orgy, Bill’s pursuit of understanding his desires and the desires of others takes him down a dark and dangerous path.

Much like Gerald’s Game, Eyes Wide Shut is a film that intertwines psychological horror with themes of sexual power and control. In Gerald’s Game, Jessie’s struggle for survival while trapped in handcuffs is not just a physical challenge but a psychological one, forcing her to confront the trauma and power dynamics that have shaped her life. Similarly, in Eyes Wide Shut, Bill’s journey is both external—he physically seeks out and participates in a secret world of sexual indulgence—and internal, as he grapples with his repressed desires and fears. The more he delves into this hidden world, the more his own identity unravels, much like how Jessie’s sense of self is challenged and shattered during her ordeal.

At the heart of both films is the idea that eroticism and danger are inextricably linked. In Gerald’s Game, Jessie’s captivity in a secluded cabin leads her to confront her past, including deeply buried memories of sexual trauma. Her physical confinement becomes a catalyst for confronting the dark recesses of her mind. Similarly, Eyes Wide Shut presents a world where sexual pleasure and danger are tightly woven together. The characters Bill encounters—whether in a hotel room or at the orgy—embody a dangerous form of desire that has the potential to destroy them. Both films explore how the pursuit of sexual freedom, or even just understanding one’s desires, can lead to a devastating unraveling of the psyche and identity.

Both films also delve into the complexities of power dynamics within relationships. In Gerald’s Game, Jessie’s captivity represents the ultimate vulnerability, where power is stripped away, forcing her to deal with past emotional scars and the controlling behaviors of those in her life, particularly her husband, Gerald. In Eyes Wide Shut, Bill’s journey of jealousy and obsession begins with a loss of power within his marriage—his inability to control his wife’s desires leads him into a web of sexual jealousy. As Bill immerses himself in a dangerous world of anonymous sex and secret societies, he is forced to confront the fragility of his own power, not just over his wife, but over his self-perception.

Visually, Eyes Wide Shut is a cinematic masterpiece, with Kubrick’s meticulous direction creating an eerie, dreamlike atmosphere throughout the film. The unsettling visual aesthetic mirrors the psychological tension present in the narrative. The film's use of lighting, particularly in scenes at night, creates an atmosphere of isolation and disorientation, much like Jessie’s experience in Gerald’s Game. Both films employ an almost suffocating sense of entrapment, whether physical or psychological, with every scene designed to immerse the audience in the characters’ experiences and make them deeply uncomfortable in their presence.

The pacing of Eyes Wide Shut is slow and deliberate, which mirrors the steady unraveling of Bill’s mental state. His increasing obsession with the world he has entered and the people he meets heightens the tension, much like Jessie’s battle for survival in Gerald’s Game is a slow burn, with moments of intense confrontation followed by introspective, quieter sequences. The psychological unraveling in both films creates an atmosphere of constant dread, with viewers unsure of what will happen next but certain that something dangerous lurks beneath the surface.

Both films also address the theme of deception. In Gerald’s Game, Jessie’s perception of the events unfolding around her is clouded by her past traumatic experiences and her struggle to trust herself and others. In Eyes Wide Shut, Bill’s journey is marked by an increasing distrust of the world around him. The world of secret societies and masked figures introduces a sense of anonymity that is both liberating and terrifying. Just as Jessie must confront the truth of her past in Gerald’s Game, Bill must come to terms with the facelessness of his desires and the people around him, leading him to question his own assumptions and the reality of his existence.

In both Gerald’s Game and Eyes Wide Shut, the sense of isolation is palpable. Bill’s emotional and psychological isolation mirrors Jessie’s physical isolation in the cabin as he descends deeper into his journey. Both characters struggle with their identities and realize that the worlds they once thought they understood are much darker and more complex than they ever imagined.

In conclusion, Eyes Wide Shut offers a similarly unsettling exploration of the psychological and emotional toll of desire, control, and the intersection of sexuality and danger. Like Gerald’s Game, it forces viewers to confront uncomfortable truths about vulnerability, trauma, and power dynamics. Both films dive into the darker aspects of the human psyche, presenting us with characters who, through their exploration of forbidden desires, risk losing themselves in the process. If you were captivated by the tension, psychological complexity, and disturbing themes of Gerald’s Game, Eyes Wide Shut is a must-watch that will leave you questioning the boundaries of desire and the consequences of exploring them.

Dressed to Kill (1980)

Brian De Palma's Dressed to Kill (1980) is a masterful blend of eroticism, suspense, and psychological horror that shares many thematic similarities with Gerald's Game. Both films explore the complex intersections of desire, trauma, and violence, creating an unsettling atmosphere that keeps audiences on edge. While Gerald's Game plays out largely within the confines of one isolated space, Dressed to Kill takes its viewers on a more expansive journey through the darker corners of human sexuality, identity, and power. If you were captivated by Gerald's Game's tension and psychological complexity, Dressed to Kill will undoubtedly appeal to you.

The plot of Dressed to Kill centers around a series of brutal murders linked to a mysterious woman with a split personality. The film opens with a voyeuristic scene involving a high-society woman, Kate Miller (Angie Dickinson), who is dissatisfied with her life and seeks a passionate encounter with a stranger. However, her encounter takes a dark turn when she becomes the target of a brutal murder. As the investigation unfolds, a web of deceit, sexual obsession, and hidden identities unravels, leading the audience through a disturbing narrative filled with psychological twists and turns.

Much like Gerald's Game, Dressed to Kill uses the theme of vulnerability to create a sense of dread. In Gerald's Game, Jessie is physically and psychologically trapped, struggling to free herself from both her handcuffs and the traumatic memories that haunt her. In Dressed to Kill, characters are similarly trapped within their own psychological and emotional prisons. Kate, for example, is trapped in a loveless marriage, and her search for sexual liberation leads to her demise. As the film progresses, the viewer is introduced to the disturbing complexity of the antagonist's mind—revealing how sexual desires and psychological trauma often coexist and influence dangerous behaviors.

One of the key parallels between Gerald's Game and Dressed to Kill is the exploration of sexual power dynamics. Both films portray characters whose sexual encounters are not simply acts of pleasure but manifestations of control, manipulation, and desire. In Gerald’s Game, the power dynamic between Jessie and her husband, Gerald, shifts from consensual to coercive, and Jessie’s struggle for survival becomes a battle to reclaim her own agency. Similarly, Dressed to Kill presents a world where sexual attraction and violence are deeply entwined, with characters repeatedly manipulating and deceiving one another. The film challenges the notion of sexual freedom by showing how it can often lead to darker, more destructive outcomes, a theme echoed in Gerald’s Game as Jessie’s desires and past trauma come to the forefront during her fight for survival.

Another striking similarity is how both films use voyeurism as a key device to explore desire, sexuality, and power. In Gerald’s Game, Jessie is literally and figuratively a captive, forced to face her past and the deep-seated fears and repressions that have shaped her life. In Dressed to Kill, voyeurism is a recurring theme, with characters—most notably the film’s central investigator, played by Nancy Allen—becoming embroiled in the search for the killer while also observing disturbing sexual behaviors. In both films, voyeuristic tendencies are linked to feelings of isolation, secrecy, and breaking personal boundaries.

The horror in Dressed to Kill is psychological as much as physical, with the viewer constantly questioning what is real and imagined. This aligns closely with Gerald’s Game, where Jessie’s mind plays tricks on her, and the line between her memories and reality becomes increasingly blurred. In both films, the characters’ struggles with their inner demons manifest in increasingly violent and surreal ways. Dressed to Kill is not just a slasher film; it is a psychological thriller that examines how trauma, desire, and identity converge into a deadly cocktail. As the plot unfolds, the film forces its audience to confront uncomfortable truths about the fragility of identity and the terrifying consequences of unaddressed psychological wounds.

De Palma’s direction and cinematography are key to the film’s unsettling tone. Dressed to Kill is known for its striking visuals and bold use of color, with each scene meticulously crafted to heighten the tension and evoke a sense of claustrophobia. The film’s visual style mirrors its psychological depth, using the camera as a tool for observation and intrusion, much like the voyeuristic characters within the story. The heightened tension and suspense throughout the film are similar to the psychological horror in Gerald’s Game, where every sound and every movement adds to the oppressive atmosphere.

Additionally, both films feature a sense of unraveling sanity as the characters are forced to confront the disintegration of their control over their lives. Gerald’s Game presents Jessie with the ultimate test of her will to survive, but it is also a journey of self-discovery as she faces the truths about her past, marriage, and psyche. In Dressed to Kill, the characters are similarly faced with the revelation of buried identities and the emotional scars that shape their actions. The psychological breakdown of key characters in both films invites the audience to consider how deeply trauma can affect an individual’s sense of self—and how dangerous it can be when that trauma is left unchecked.

Dressed to Kill is a perfect fit for fans of Gerald’s Game, who appreciate psychological horror, tension-filled suspense, and the exploration of trauma, desire, and power. Both films tap into the unsettling, often dark intersection of sexuality and violence, where vulnerability is a double-edged sword, exposing characters to both emotional and physical dangers. With its gripping narrative, complex characters, and exploration of psychological horror, Dressed to Kill offers an intense, thought-provoking experience that will leave you questioning the line between desire and destruction.

Like Gerald’s Game, the films listed here delve into the unsettling and often dangerous connection between sexuality and death. They explore how desire can become a force of manipulation, obsession, and even destruction. By intertwining eroticism with horror, these films don’t just frighten—they provoke thought, forcing us to confront uncomfortable truths about the power dynamics within intimate relationships and the vulnerability that comes with desire. Whether it’s through the disturbing dominance of Hush or the psychological unraveling in Eyes Wide Shut, these films remind us that sometimes, the most horrifying monsters are the ones that reside within us all.