Here’s a bold statement: The Woman in Cabin 10 is the Agatha Christie mystery for the TikTok generation—a thriller designed for viewers who’d rather scroll than solve. But here’s where it gets controversial: is it a clever commentary on modern attention spans, or just a shallow ride for those who don’t care to look closer? Let’s dive in.
Netflix’s latest offering stars Keira Knightley, who’s been quietly pivoting from period dramas to sleek thrillers like Official Secrets (2019) and Black Doves (2024). Knightley’s charm—that approachable, no-nonsense energy—makes her a natural fit for the genre. Yet, The Woman in Cabin 10 feels like the weakest link in her thriller portfolio, a disposable entry in an otherwise promising shift.
Knightley plays Laura “Lo” Blacklock, a Guardian journalist haunted by her last assignment, which left an informant dead and her conscience in tatters. Desperate for a break, she takes on a fluff piece: profiling a Norwegian heiress with terminal cancer (Lisa Loven Kongsli) and her husband (Guy Pearce), who’ve launched a research foundation with a lavish cruise as its kickoff. Lo’s job? Write a glowing review. But here’s the twist: this isn’t just a luxury getaway—it’s a nightmare in the making.
Dropped into a world of opulence, Lo sticks out like a sore thumb, overdressed for dinner and out of place among the ultra-wealthy. Things take a dark turn when she meets her neighbor in cabin 10—a mysterious woman whose presence sparks a chain of eerie events: raised voices, blood on the glass, a splash, and a body vanishing into the night. And this is the part most people miss: the film doubles down on the ‘eat the rich’ trope, joining the ranks of The White Lotus, Blink Twice, and Nine Perfect Strangers. But unlike those, it feels stale, borrowing from Ruth Ware’s 2016 novel, which itself feels like a relic of the ‘gaslit woman in a creepy setting’ era.
The result? Two overdone trends mashed into one. The yacht’s elite—played by the likes of Hannah Waddingham, David Morrissey, and Kaya Scodelario—gaslight Lo, insisting cabin 10 was empty and suggesting her PTSD is the real issue. Her only ally? Her ex, photographer Ben (David Ajala), whose breakup with Lo wasn’t exactly amicable. You’d think this setup could tackle timely themes—journalism under threat, wealthy impunity, even AI—but it doesn’t. Instead, it’s a glossy distraction: nice interiors, fancy outfits, and cheap thrills wrapped in 95 minutes.
The plot twist? Predictable. If you’re paying attention, you’ll see it coming a mile away. But that’s the point—the film doesn’t want you to. It’s designed to be background noise, a blur behind your Instagram feed. Take Gugu Mbatha-Raw’s cringe-worthy line as Lo’s colleague: ‘Are we talking about stealing NGO funds from starving children or your chequered romantic history?’ It’s a clunker, but who’s listening anyway?
So, is The Woman in Cabin 10 a missed opportunity or exactly what it aims to be? That’s the controversy. It’s a film that doesn’t demand your focus, but does it deserve your time? Let’s hear it—agree or disagree? Directed by Simon Stone, starring Keira Knightley, Guy Pearce, and more, it’s now streaming on Netflix. Cert 15, 95 minutes. Your move.
