The 10 Most Underrated Margaret Qualley Movies, Ranked (from Least to Most Underrated)

Margaret Qualley has built one of the most interesting filmographies of her generation, moving between indie dramas, offbeat thrillers, and big-canvas studio projects. She often gravitates to directors with strong voices, and those choices have put her in everything from festival premieres to mainstream crowd-pleasers. That variety means some titles slipped under the radar—or were overshadowed by the filmmakers around her—even though they showcase sharp, specific work.

Below is a countdown of ten films that deserve another look. You’ll find where each project came from, who made it, the role she plays, and what else was happening around the production and release. It’s a practical guide—no hot takes—so you can decide what to queue up next.

‘Donnybrook’ (2018)

Directed by Tim Sutton and adapted from Frank Bill’s novel, this rural crime drama follows a former Marine seeking prize money from an underground bare-knuckle brawl. Margaret Qualley appears alongside Jamie Bell and Frank Grillo, with filming taking place largely in Ohio and Kentucky. The movie premiered on the festival circuit before receiving a limited theatrical release through IFC Films.

Behind the camera, Sutton continues themes from his earlier work about American violence and economic desperation. The production leans on location shooting, sparse scoring, and handheld photography. Qualley’s supporting turn slots into an ensemble of morally frayed characters whose paths converge at the titular fight.

‘Stars at Noon’ (2022)

Directed by Claire Denis and based on Denis Johnson’s novel, this romantic thriller is set amid political turmoil in Nicaragua. Margaret Qualley stars opposite Joe Alwyn as a stranded journalist who becomes entangled with a mysterious British traveler. The project shot in Panama due to logistical constraints, with French producers backing the film and A24 handling distribution in the United States.

The film debuted at Cannes, where it was awarded the Grand Prix by the jury. Its release strategy paired select theaters with a premium video-on-demand window, bringing it quickly to home audiences. Denis’s longtime collaborators—editor Guy Lecorne and composer duo Tindersticks—helped shape the film’s mood and pace.

‘Strange but True’ (2019)

This mystery thriller adapts John Searles’s novel about a young woman who appears at a grieving family’s home claiming her pregnancy is connected to their late son. Margaret Qualley leads the cast with Amy Ryan, Greg Kinnear, and Brian Cox in key roles. Rowan Athale directed, and principal photography took place in Ontario.

The production emphasizes practical locations—suburban homes, hospitals, and small-town streets—to ground the story’s twists. Released by CBS Films and Lionsgate, the movie moved swiftly to digital platforms after a modest theatrical run. The score by Neil Athale and restrained visual effects keep the focus on performances and plot mechanics.

‘My Salinger Year’ (2020)

Based on Joanna Rakoff’s memoir, this literary coming-of-age drama centers on a young assistant at a New York agency representing J. D. Salinger. Margaret Qualley plays Rakoff opposite Sigourney Weaver as the boss who enforces strict office rules, including how to handle fan letters. The film was written and directed by Philippe Falardeau and shot primarily in Montreal, with sets recreating Manhattan interiors.

It opened the Berlin International Film Festival and rolled out through IFC Films in North America. Production design leans on period-accurate typewriters, office decor, and wardrobe to evoke the publishing world. The adaptation streamlines several memoir episodes while keeping the core workplace arc and correspondence motif intact.

‘Palo Alto’ (2013)

Adapted from James Franco’s short-story collection, this ensemble teen drama marks Gia Coppola’s feature directing debut. Margaret Qualley appears among an ensemble that includes Emma Roberts, Jack Kilmer, and Nat Wolff. The film was shot around Los Angeles, favoring natural light and a low-key visual style to echo its short-story origins.

The soundtrack blends indie tracks with Devonté Hynes’s score, reinforcing the film’s episodic structure. Distributed by Tribeca Film, it found most of its audience through home viewing after a limited theatrical release. Coppola’s screenplay condenses multiple stories into interlocking threads that follow school life, parties, and family friction.

‘Sanctuary’ (2022)

This two-hander chamber piece pairs Margaret Qualley with Christopher Abbott in a psychological power game set almost entirely inside a luxury hotel suite. Directed by Zachary Wigon from a script by Micah Bloomberg, the film was produced by Rumble Films and filmed on contained sets to emphasize blocking, timing, and dialogue.

The release strategy focused on specialty theaters with an emphasis on word-of-mouth playdates before streaming availability. Craft highlights include a meticulous production design that reconfigures the same room in subtle ways and an editorial rhythm that treats scene beats like rounds in a match. The compact scope allowed the team to keep the shoot efficient while giving actors long takes.

‘Novitiate’ (2017)

Written and directed by Maggie Betts, this period drama follows a group of young women entering a Catholic convent during a moment of doctrinal change. Margaret Qualley appears among the novices, with Melissa Leo portraying the Reverend Mother and Julianne Nicholson in a pivotal supporting role. The production filmed in Tennessee, using repurposed institutional buildings to stand in for convent interiors.

The movie premiered at Sundance, where Leo’s performance garnered attention, and was released by Sony Pictures Classics. Costume and set teams collaborated to capture pre- and post-council shifts in religious life, while the cinematography alternates between austere tableaux and intimate close-ups. The script incorporates historical context through classroom lessons and chapel scenes rather than expository narration.

‘The Nice Guys’ (2016)

Shane Black directs this buddy-detective comedy set in Los Angeles, with Russell Crowe and Ryan Gosling as mismatched investigators. Margaret Qualley plays Amelia, a key figure who draws the leads into a case involving the auto industry and adult-film circles. Filming took place in Atlanta with extensive period set dressing to recreate city streets, signage, and interiors.

Warner Bros. handled distribution, with a wide release that emphasized Black’s signature blend of action and banter. The production features coordinated stunt work, practical gags, and a brass-forward score by John Ottman and David Buckley. The script’s layered conspiracy structure gives Amelia a central narrative function that threads through multiple set-pieces.

‘Kinds of Kindness’ (2024)

Directed by Yorgos Lanthimos and written with Efthimis Filippou, this triptych drama tells three distinct stories using a recurring ensemble that includes Emma Stone, Jesse Plemons, Willem Dafoe, and Margaret Qualley. The film was shot in New Orleans, with each segment employing its own production design language while maintaining a shared tonal baseline. Searchlight Pictures released it theatrically with a staggered international rollout.

Editorial continuity across the segments relies on returning department heads and a coordinated sound palette. The project reteams Lanthimos with key collaborators from earlier work, while adding new faces to the troupe. Qualley appears in multiple segments, with roles calibrated to the anthology’s shifting power dynamics and moral frameworks.

‘Once Upon a Time… in Hollywood’ (2019)

Quentin Tarantino’s ensemble drama reimagines the film industry during a transitional moment, following a fading TV star and his stunt double as they intersect with real historical figures. Margaret Qualley portrays a member of the Manson circle who encounters the protagonists during a roadside detour. The production rebuilt period storefronts across Los Angeles, with Sony Pictures distributing and an awards-season campaign extending its theatrical life.

Technical craft includes large-format cinematography, in-camera driving work, and a needle-drop soundtrack curated from contemporary radio recordings. The film premiered at Cannes before expanding worldwide. Qualley’s scenes required choreography across vehicles, ranch exteriors, and ensemble blocking that ties her character to the broader historical tapestry of the narrative.

Share your own picks for overlooked Margaret Qualley performances in the comments!