The world has produced many marvels, but none quite as intriguing as Winona Ryder, who conquered Hollywood by perfecting the art of being gloriously, defiantly peculiar. As Lydia Deetz she reigned over the gothic teens, as Veronica Sawyer she navigated high-school carnage with enviable poise, and as Kim in Edward Scissorhands she mastered tremulous longing. With a pixie cut sharper than some screenplays and a grunge sensibility to shame entire runways, she became a generational compass. 

Of course, with such brilliance, Netflix has made sure to dutifully gather Winona Ryder films that echo her signature bite, and beauty, ensuring viewers remain deliciously captivated.

Beetlejuice Beetlejuice brings Winter River back to life with Tim Burton’s signature blend of chaos, charm, and unapologetically eccentric design. The Deetz family returns armed with three generations of unresolved tension, and the sudden reappearance of Michael Keaton’s gleefully unhinged Betelgeuse turns their domestic gloom into a supernatural circus of delightful disaster.

Winona Ryder, co-starring with Jenna Ortega, steps back into Lydia Deetz with the precision of someone slipping into a perfectly haunted glove. Her evolution from brooding teen to complicated mother gives the sequel its emotional voltage, especially as she navigates grief, spectral commotion, and a daughter determined to open portals better left sealed. It is peak Ryder magnetism.

Sarah Cooper: Everything’s Fine operates like a televised fever dream, stitching together satire, political chaos, and pandemic-era bewilderment in a way only Natasha Lyonne would dare condense into a variety special. Sarah Cooper lip-syncs presidential absurdities with alarming accuracy, while a parade of celebrity guests drift through like oddly topical hallucinations.

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Winona Ryder appears as Lacey Groin, a wonderfully minor character whose name alone suggests the writers held nothing sacred. Her brief presence adds a wink of surreal glamor, as if Lydia Deetz wandered into a sketch and politely agreed to stay. Ryder turns even a blink-and-you-will-miss-it moment into an event; her deadpan precision hits with the same electricity as her single Stranger Things Season 5 statement, a reminder that she Is Hollywood royalty by nature, not title.

Bram Stoker’s Dracula arrives with the theatrical grandeur one expects when Francis Ford Coppola decides to resurrect the undead. Gary Oldman glides through London like a beautifully deranged aristocrat, while the film’s lavish costumes, operatic lighting, and unapologetic sensuality create a gothic fever dream that is almost too sumptuous to trust.

Winona Ryder anchors the story as both Mina Murray and the ill-fated Elisabeta, giving the film its pulse of yearning and tragedy. She moves between innocence and ancient heartbreak with unsettling grace, becoming the emotional hinge that keeps all the madness spinning. Ryder makes doomed romance look like a highly specialized art form.

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Which of these Winona Ryder movies do you find the most interesting? Let us know in the comments!