The past couple of months, Marty Supreme has taken the world of cinema and pop culture by storm in a very Marty Mauser-esque manner. Like his character, Timothée Chalamet had one thing and one thing only on his mind: winning the coveted Academy Award. And like Marty, he created havoc in his pursuit of greatness, holding us captive with his over-the-top campaign tactics and increasingly obsessive display of ambition. It’s as overwhelming as it is impressive to see what it is to be singular in what you want. I can’t help but watch his journey from the formidable start to the bitter end. After all, my favorite movie genre is the obsessed artist.

There’s something so captivating about watching people ascend into a different reality because of their passion. The obsessed artist is always a complex character: morally ambiguous in the pursuit of their dreams and blinded by the pot of gold at the end of the rainbow, they tend to be both cunning and naive. With one foot in reality and the other in delusion, you really don’t know where the obsessed artist will end up. 

Here are five of my favorite films about the obsessed artist:

Sunset Boulevard (dir. Billy Wilder, 1950)

Considered to be one of the blueprints of this genre, Sunset Boulevard follows Joe Gillis (William Holden), a struggling screenwriter, who stumbles into the home of a fading silent movie star, Norma Desmond (Gloria Swanson). Secluded in her massive mansion and delusions, Nora hires Joe to help write a script, and becomes increasingly obsessed with both him and her imagined fame. What starts out as a tale of Hollywood hustling quickly turns into a cautionary tale of ambition.

This truly is one of the best movies I’ve ever watched. This movie provides a nuanced, empathetic character study of the aging star Nora Desmond. Without hiding the fact that she is an obsessive woman, she is still the unfortunate product of the Hollywood machine. Nora is dealing with post-power syndrome, and you can’t help but be understanding of her story, despite her manipulative tendencies. There are so many iconic scenes and lines in this movie that will further convince you of Wilder’s brilliance.

Whiplash (dir. Damien Chazelle, 2014)

Seemingly, Chazelle’s favorite genre to explore, Whiplash, is like La La Land’s (2016) evil older sibling. A talented young drummer, Andrew Neiman (Miles Teller), joins a jazz ensemble led by a notoriously tough instructor, Terence Fletcher (J.K. Simmons). Neiman is pushed to the brink by both Fletcher and his own ambitions and obsession, forcing him to make sacrifices in his personal life. 

This reads more like a psychological thriller; Simmons’ dark aura seemingly haunts Neiman and the watcher in every scene, whether he’s physically present or not. Edited at a terrifying tempo, this quest for greatness will make your heart pound as fast as the drums. Chazelle will hold you captive despite your eventual need to take a breather. 

Chicago (dir. Rob Marshall, 2002)

When the bob bobs, you get a deliciously juicy musical about morally gray women willing to do anything it takes to not only get their licks back, but also reach the stardom they so deserve. Set in 1920s Chicago, this Broadway-turned-movie musical follows Roxie Hart’s (Renée Zellweger) efforts to get out of prison and onto the stage after a deadly incident following her affair. While awaiting trial in prison, she meets nightclub legend Velma Kelly (Catherine Zeta-Jones) and a rivalry grows between them, each vying for the public’s and defense lawyer Billy Flynn’s (Richard Gere) attention.

This cutthroat musical integrates the stage performances into the storyline really well, enhancing its theatricality. Catherine Zeta-Jones is an absolute standout in this movie; a powerhouse in every musical number she performs, Zeta-Jones brings the fatality of a woman scorned, one who is born for the stage. All the classic musical numbers will have you leaning in and tapping your foot. 

Black Swan (dir. Darren Aronofsky, 2010)

Nina (Natalie Portman), a talented yet neurotic ballerina, is chosen to lead the Swan Lake production at her company, a role that requires her to embody both the White Swan and the Black Swan. While she struggles to embody the Black Swan, newcomer Lily (Mila Kunis) fits the bill easily. Pushed by her ambitions, insecurities, and her controlling, aged-out ballerina mother, her reality starts to blur at the edges, haunted by her alter ego.

This is a true psychological thriller filled with eerie moments that make you question what is real and what is not. Nina’s descent into madness is thrilling to watch; your eyes will be glued to the screen as she loses herself in her artistic pursuit, while at the same time freeing herself from the claws of her neurosis and controlling mother. The ending of this movie is chilling and an absolutely satisfying payoff.

Kokuho (dir. Lee Sang-il, 2025)

After the death of his yakuza leader father, Kikuo Tachibana (Ryo Yoshizawa) is sent to live with Hanai Hanjiro (Ken Watanabe), a famous kabuki actor. Growing up alongside Master Hanjiro’s son Shunsuke (Ryusei Yokohama), they work hard and grow to be a great kabuki duo. But ambitions get in the way, and Kikuo makes decisions that sacrifice his relationships. 

This is a beautiful movie spanning years of Kikuo’s life that explores the beauty of kabuki as an art form and what it means to fight for something that sustains a person. Not only is it about obsession in art, but it’s about family identity and pride. It’s a devastating story accompanied by powerful visuals and score.