Prepare for a thriller that feels like Agatha Christie—but designed for the age of endless scrolling and short attention spans. Netflix’s The Woman in Cabin 10 offers a murder mystery that only truly works if you’re not paying full attention, mirroring its distracted characters who barely seem engaged themselves. This film marks another step in Keira Knightley’s ongoing shift from period pieces to sleek, contemporary thrillers, following her roles in Official Secrets (2019) and Black Doves (2024), the latter also available on Netflix.
Knightley fits perfectly within this genre. Her approachable, straightforward style—like someone who asks the right questions and then invites you for a casual drink—translates well to the role of an investigative journalist. Yet, despite this suitability, The Woman in Cabin 10 is arguably her least compelling effort, feeling somewhat shallow and disposable compared to her recent work.
Knightley takes on the role of Laura “Lo” Blacklock, an investigative reporter for The Guardian, haunted by a previous assignment involving NGO corruption that ended tragically with a dead informant. She’s not one for relaxing, so she takes on a lighter, seemingly frivolous assignment: covering a benefit cruise on a luxurious private yacht owned by a Norwegian heiress with terminal cancer (played by Lisa Loven Kongsli) and her husband (Guy Pearce), who have launched a new research foundation. Lo’s job is to observe and write some flattering coverage.
Thrown into the exclusive world of the ultra-rich, Lo quickly feels overwhelmed by opulence but commits what social circles might consider a faux pas: she dresses formally for dinner. Things take a dark turn when she encounters a mysterious woman in the adjacent cabin (yes, cabin 10) and witnesses troubling signs—raised voices, blood on a window, a splash in the water—pointing to foul play, climaxing in the eerie disappearance of a body.
This storyline is basically another iteration of the "eat the rich" theme sweeping recent entertainment, joining ranks with shows like The White Lotus, Blink Twice, Nine Perfect Strangers, and more. However, the source novel by Ruth Ware was published in 2016, placing it closer to earlier trends of psychological thrillers featuring gaslit women trapped in confined spaces (think The Girl on the Train, and similar).
Therefore, the film blends two overexposed trends: a glittering, exclusive setting where the elite conspire to make Lo doubt her own eyes, insisting no such woman existed in cabin 10. They also suggest she might be suffering from PTSD once she returns to shore. Her potential ally here is Ben (David Ajala), a photographer and Lo’s ex, adding a layer of complicated personal tension since their breakup wasn’t clean.
One might argue that The Woman in Cabin 10 speaks to urgent themes like the challenges investigative journalism faces against capitalist interests, the plight of disbelieved women, and the wealthy’s untouchable arrogance—even touching briefly on AI. But in reality, these issues are just window dressing for a movie about stylish interiors, fashionable attire, easy thrills, and attractive actors, all wrapped up in a neat ninety-minute package.
The film’s twist, unfortunately, is predictable within the first fifteen minutes if you actually pay attention to the dialogue. This includes a clunky, out-of-place line delivered by Gugu Mbatha-Raw, who sadly goes underused as Lo’s colleague: "Are we talking about stealing NGO funds from starving children now, or your chequered romantic history?" But catching that kind of dialogue means you’re not watching the movie as it was intended—to be viewed as a fuzzy, background story while you scroll through Instagram.
Directed by Simon Stone, The Woman in Cabin 10 stars Keira Knightley, Guy Pearce, Art Malik, Gugu Mbatha-Raw, Kaya Scodelario, Daniel Ings, and Hannah Waddingham. It carries a 15 certificate and runs for 95 minutes.
So, is this just a stylish distraction or a missed opportunity to explore deeper issues through thriller storytelling? Do you think the film’s portrayal of investigative journalism and social elitism is effective or just surface-level? Share your thoughts—agree or disagree—in the comments below.
‘The Woman in Cabin 10’ is now available for streaming on Netflix.
