It is now quite rare to see an erotic thriller made. Thriving during the late 1980s and into the 90s, in a modern cinematic world that has become more cookie cutter and safe, it just doesn’t seem to fit within the current mold being used in Hollywood. That is why it is a breath of fresh air to see the current success of The Housemaid (2025). And, while we’re on that, it also ties into another film from back in 2009 called Chloe. . . not only because it falls within the same more adult themed genre, but also because they both star Amanda Seyfried.
Starting with the 2025 offering from director Paul Feig, The Housemaid follows Millie Calloway (Sydney Sweeney) as she desperately seeks employment after a yet undisclosed difficult past. Falling into a seemingly perfect job as a housemaid for the wealthy Winchester family, Nina (Seyfried), Andrew (Brandon Sklenar), and daughter Cece (Indiana Elle), live in a gargantuan posh house on the edge of New York.
Perhaps not as pleasant as it originally seemed, Millie soon finds Nina somewhat erratic, a bit unstable, and a touch alarming. Though her more even-keeled husband Andrew comes across as more of an ally, she doesn’t get any warm and fuzzy feelings from Cece either. . . I guess one out of three will have to do. Then there’s the dark brooding gardener Enzo (Michele Morrone), who certainly doesn’t exude comforting vibes either.
Trying to keep her mysterious past hidden from her employers while excelling at her new job, she tries to settle into the impressive self-built home. . . having been provided the attic room – which, for those who have seen the classic film The Night of the Hunter (1955), might feel a bit too close for comfort. As Nina continuously becomes more psychologically unstable in her mistreatment of Millie, certain secrets from all of their pasts are slowly unfurled. Might the new housemaid’s past be less wholesome than expected? Or perhaps it could be one of the seemingly happy couple that is more than a little off? Will this all turn into a Family Feud?
Though holding some similar tones with Atom Egoyan’s Chloe, this 2009 mystery follows a more traditional erotic thriller pattern. Instead of guarding so closely to its twists and turns when compared to The Housemaid (which clings to its surprises until the final third), this story, written by Secretary’s Erin Cressida Wilson and based upon the 2003 French film Nathalie, follows a wholly different triumvirate or ménage à trois.
This time set in Toronto (as it is a mostly Canadian production – though it will never actually name the city. . . perhaps trying to trick viewers into thinking it is a U.S. location), gynaecologist Catherine Stewart (Julianne Moore) and her professor husband David (Liam Neeson) are in a long staid marriage. In fact, Catherine is now more of a helicopter mom to her teenage son Michael (Max Thieriot) – who is hiding a hot and heavy relationship with his girlfriend Anna (Nina Dobrev), than a truly involved wife.
When David doesn’t fly in on time from New York to return home for his birthday. . . missing the big surprise party his wife has planned for him, she starts to wonder if all is not right in their marriage. After a few alarming clues and some odd behaviour, Catherine decides to hire a prostitute named Chloe (Seyfried) – who she has seen working at a high end hotel that they have dined in before, to help investigate.
Prompting her to go undercover to see if her husband can easily be wooed, Chloe slowly becomes intertwined in the lives of the Stewart’s. Ingratiating herself with the husband, frequently reporting back to his wife, the twenty-something even starts bumping into their son as well. . . a most complex set of relationships that have become all too personal. . . as Catherine has taken in Chloe as a sort of confidante within her flailing marriage. Is Chloe actually as trustworthy as her doe eyes suggest? May Catherine have let the prostitute a little too far into their personal lives? Might her husband not be cheating at all?
Though both films are set in impressive abodes, The Housemaid’s main setting exudes more claustrophobia. . . as Millie’s past and present have an intriguingly restrictive feeling, while Chloe thrives on its layered voyeuristic aspects – with the house’s many windows and reflective mirrors giving off a completely different essence. Willing to tread more heavily into the erotic aspects compared to its 2025 counterpart (which feels like it’s playing it a bit safe), Egoyan allows more secrets to be revealed along the way as all three characters fall within the webs woven by each other. This provides more engrossing characters (despite making the twist easier to guess), as Catherine becomes so engrossed in her own traps set through Chloe, her fantasy almost gets the better of her. . . adding a steady growth of suspense and thrills as sex and lies seduce the viewer.
Proving an interesting double feature, The Housemaid is an old fashioned breath of much needed fresh air for the stiff and two dimensional modern film industry, while Chloe provides its engaging leads with edgy material that will be sure to both stimulate and titillate. With the duo featuring excellent performances from Amanda Seyfried, they leave her with two unique characters that can be compared for both their similarities and differences, while the varying casts also have dynamic parts to play. So, take a peak through the windows at these two erotic thrillers made in very different ways, I can assure you, neither are like pulling teeth.