5 “Good for Her” Films that Decenter Romance

The “Good for Her” film subgenre has emerged as an encapsulation of the shifting dynamics of gender roles and the female ability to achieve empowerment through vengeance or liberation. These films frequently feature protagonists who reclaim female agency and identity beyond romantic connection and servitude. “Good for Her” narratives evolve as female protagonists find purpose and fulfillment within themselves or through other meaningful relationships. Contrary to what social conditioning leads us to believe, romance is not the pinnacle of human existence. If you need a reminder of this amidst this week’s Valentine’s Day onslaught, here are five “Good for Her” films to check out that decenter or deconstruct traditional romance.

1. Companion (2025)

Director: Drew Hancock

Drew Hancock’s recent science fiction/dark comedy thriller features Iris (Sophie Thatcher), a young woman helplessly in love with her partner, Josh (Jack Quaid). After accidentally committing murder, Iris learns that she is a “companion robot,” built and programmed for a sole purpose – to make her owner happy. Josh is determined to shut Iris down and return her to the sexbot factory. Iris is determined to survive. Over the course of the film, Iris grapples with her powerful(ly programmed) emotional connection to Josh. As she flees from Josh’s group of friends, who are determined to hunt her down and kill her, Iris confronts the true nature of her relationship. She discovers that Josh, using his Companion app, has programmed Iris’ intelligence level to 40%, his seeming concept of the ideal girlfriend. After Iris nearly escapes, Josh begs her to return to him, promising her that he will finally treat her with the respect she deserves. Iris admits that she still loves Josh, but in the film’s pivotal moment, decides to break up with him, declaring: “It’s not you. It’s me.” Iris ultimately escapes the physical and emotional grasps of Josh, getting every bit of the cathartic vengeance we want to see. She leaves the scene of the crime with a new car, a sick jacket, a boatload of money, and a bright future. Iris’ transformation is embodied in her most iconic piece of dialogue: “There have been two moments in my life when I was happiest. The first was the day I met Josh. And the second, the day I killed him.” Character development, baby!

2. Midsommar (2019)

Director: Ari Aster

A24’s sun-drenched folk horror film begins with Dani (Florence Pugh) trapped in a four-year-long, toxic relationship with her boyfriend, Christian (Jack Reynor). Christian is emotionally neglectful and an overall horrible partner, both before and after Dani’s sister commits a devastating murder-suicide that claims the lives of her entire family. Dani accompanies Christian and his friends to a remote Swedish village to attend a rare midsummer festival. What begins as an idyllic, once-in-a-lifetime experience soon turns into a blood-filled nightmare as their host cult engages in strange rituals, including human sacrifice. Meanwhile, Christian continues to suck, dismissing Dani’s concerns and forgetting her birthday. Cult member Pelle shows interest in Dani, comforting and supporting her. Dani is crowned midsummer May Queen, a prestigious honor within the cult, and is embraced by the community and Pelle. At the festival’s climax, Dani, with her newfound power as May Queen, elects Christian as a human sacrifice. She rejects her unfulfilling romantic partnership, breaking free from the constraints of heteronormative romantic expectations, and finds solace in a (murderous cult) community that nevertheless genuinely values and supports her.

3. Promising Young Woman (2020)

Director: Emerald Fennell

Emerald Fennel delivers the striking story of Cassie (Carey Mulligan), a young woman seeking justice after her childhood best friend, Nina, is raped and subsequently commits suicide. A barista by day, Cassie spends her nights hunting down and exposing men who prey on intoxicated women. Her routine is disrupted when she crosses paths with Ryan (Bo Burnham), a former medical school classmate. While Cassie and Ryan fall in love, she enacts an intricate plan to exact revenge on those complicit in Nina’s assault. Ryan is able to break through Cassie’s emotional barriers, just as she uncovers his shocking involvement in Nina’s rape. Promising Young Woman ultimately acknowledges the painful reality that our romantic partners are not always who they seem to be. And, although they may not necessarily be criminal in nature like Ryan, the excitement of new love and the power of rose-colored glasses can be deceptive. Fennell underscores that romance can be disappointing, and true healing often arises from confronting trauma. Cassie’s undying love for Nina and determination to avenge her is profound, defining the film as a testament to the strength and importance of friendship. Promising Young Woman is a love story that transcends conventional romantic narratives. 

4. Legally Blonde (2001)

Director: Robert Luketic

Legally Blonde demonstrates something that many more serious films fail to – that women can have goals, aspirations, and desires unrelated to romantic partnership. Elle Woods (Reese Witherspoon) begins her journey to Harvard Law pining for her ex-boyfriend, Warner (Matthew Davis). Determined to win Warner back, Elle applies to Harvard to prove herself as a serious partner deserving of a future with him. Facing judgement from her law school classmates, she struggles with her own identity as she navigates the unfamiliar ivory tower. Ultimately, Elle realizes that her passions and strengths are intrinsic and tied to her bubbly and unapologetically pink self. She gains newfound confidence rooted in her own identity rather than her relationship status. Elle’s “happily ever after” comes in the form of academic regalia, rather than the engagement ring she once sought so desperately. She grows beyond the need of her token relationship status symbol. The film predates the “Good for Her” label, but fits its ethos all the same.

5. I’m Thinking of Ending Things (2020)

Director: Charlie Kaufman

Charlie Kaufman’s surrealist horror masterpiece explores female identity and self perception, highlighting the way men project desires and fantasies onto their female partners. Kaufman’s unnamed female protagonist (Jessie Buckley) struggles with her own identity as she questions whether or not to end her relationship with partner Jake (Jesse Plemons). Ultimately, Buckley’s character is revealed to be a mere figment of Jake’s imagination – a projection of his romantic fantasies. Buckley’s final scene delivers little closure. Her character becomes separated from Jake and is forced to confront her own isolation and existential uncertainty. She expresses her frustrations with the female experience and ultimately remains trapped in the high school where older Jake works as a janitor until his suicide concludes the film. I’m Thinking of Ending Things is as haunting as it is liberating, presenting its themes not through a conventional happy ending but as an unsettling meditation on identity and existence. 

A.J. Weiler writes about culture and entertainment. You can find her on Medium and Muck Rack.