(Credit: Netflix)

We all know that feeling thrillers give us where we finish them, but our brain says no to moving on. The Woman in Cabin 10 is one of those kinds. We sit there thinking about how nobody believed her, how everything looked calm on the surface, but something felt off, deeply off, for quite a while till almost the interval.

But one thing we can all agree upon is that this Keira Knightley starrer left something as it ended. And if you can’t seem to figure it out, let us tell you that it is that itch where we start searching for another film that can make us feel the same kind of uneasy curiosity again.

But it is not just about the mystery here. If you pay attention closely, it is more about being trapped in a place that is supposed to feel safe, like a ship, a home or a holiday, and suddenly realising it is anything but. That mix of beauty and fear is hard to find, but Netflix has a few stories that get close.

Some of these films play with the same paranoia, and some with that helplessness that makes us want to shout at the screen. None of them copies The Woman in Cabin 10 exactly, but they all remind us of that tension where it is hard to guess whether the protagonist is right or wrong.

So here are seven films to watch when you want that same feeling again, where we trust no one and suspect everyone.

Seven Netflix movies if you loved The Woman in Cabin 10

The Weekend Away (Kim Farrant, 2022)

We get the same frustration here that The Woman in Cabin 10 gave us. Like, you know something terrible has happened, and the person trying to explain it looks guilty instead of scared. It is not even about the missing friend at first; it is about watching how fast everyone turns on you when you are the only one who insists that something is wrong.

Leighton Meester plays Beth, who goes to Croatia for a weekend that is supposed to be relaxing, except her best friend disappears, and suddenly everyone is more interested in blaming her than helping her. The whole thing moves between panic and confusion, and just when we start thinking we know what happened, it shifts again. It is messy and stressful, and we keep watching because we need to know who is actually telling the truth.

The Girl on the Train (Tate Taylor, 2016)

There is no need to explain what a masterpiece this film is. We all have watched it multiple times, yet if we talk about films similar to The Woman in Cabin 10, The Girl on the Train will stand tall. This film made us second-guess our own memory. It is one of those stories where we spend half the time wondering if what we are seeing even happened, and the other half wondering why no one believes her.

Emily Blunt plays Rachel, who keeps watching a couple from her train window until one day the woman goes missing, and Rachel realises she might know something important, or maybe she imagined the whole thing. It is the perfect spice mix of obsession and guilt, and even when we think we have figured out what is going on, the film keeps proving we actually have not.

Gone Girl (David Fincher, 2014)

We cannot really talk about psychological thrillers without mentioning Gone Girl. It has that same sense of control and deception that The Woman in Cabin 10 teased us with, except this one is sharper and meaner, and it pulls us in because every character looks like they are performing for an audience we cannot see.

Ben Affleck and Rosamund Pike play a married couple whose picture-perfect life cracks open when the wife disappears and the husband becomes the prime suspect. The media goes wild, the story turns, and at one point, we are not even sure whose side we are on anymore. It is uncomfortable in the best way, because it forces us to admit how easy it is to believe the version of truth that looks neat on camera.

Fractured (Brad Anderson, 2019)

Fractured is a film that hits that paranoia nerve, but in a completely different setting. We go from the ocean to a hospital, but the feeling is the same. You feel you are being trapped somewhere sterile and quiet, while everyone around insists that what we remember is wrong.

It follows Ray, who takes his injured daughter and wife to the emergency room after an accident. The hospital takes them in, but when he asks about them later, they are gone, and nobody remembers seeing them. The story becomes this endless circle of disbelief, where we cannot decide whether Ray is being gaslit or if he has truly lost it. It is the kind of thriller that keeps us arguing with ourselves long after it ends.

The Clovehitch Killer (Duncan Skiles, 2018)

We love how The Woman in Cabin 10 slowly made us realise something was off long before anyone said it out loud, and The Clovehitch Killer does that too. However, it is much quieter. And that is possibly what makes it so amazing.

It is about a teenage boy who begins to suspect that his father might be connected to a series of murders that happened years ago. The film takes its time, letting us sit with that awful possibility until we start feeling as uneasy as he does. There is no jump scare or dramatic music as such, just the heavy dread of realising that sometimes the monster lives right inside the house.

The Occupant (David Pastor, Àlex Pastor, 2020)

To compare this film with The Woman in Cabin 10, it gives us the same kind of obsession we saw in it, except here it comes from pride instead of fear. It is about a man who loses his home, his job, and his sense of importance, and instead of moving on, he starts haunting the life he used to have.

He begins following the new family that moved into his old apartment, and little by little, he starts finding ways to insert himself into their lives. This story will make you feel uncomfortable for sure because we understand his desperation, even though we know it is wrong. By the end, it feels like a slow-motion disaster we cannot look away from.

Nowhere (Albert Pintó, 2023)

We love this one because it takes two big things from The Woman in Cabin 10: the ocean and a woman who refuses to give up. The difference is that here she is not trying to expose anyone or solve a mystery; she is just fighting to stay alive, and somehow that makes it even more gripping.

Nowhere follows a pregnant woman who gets separated from her husband while escaping her country and ends up trapped in a shipping container floating in the middle of the ocean. The entire film is just her trying to survive, and there are moments where we actually forget it is just one person on screen because it feels that tense. It is a reminder that sometimes the scariest thing is not the people around us but how far we have to go when we have no choice but to keep going.