Recommendations
Senior Film Conservator

Ever since Nana hit screens in 1934, fans have sought that same character-driven intensity, it's essential to look at the contemporaries that shared this character-driven intensity. Prepare to discover your next favorite movie in our hand-picked collection.
Whether it's the character-driven intensity or the thematic depth, this film to leave an indelible mark on the history of United States film.
Nana is a 1934 American Pre-Code film, produced by Samuel Goldwyn, released through United Artists, starring Anna Sten. and directed by Dorothy Arzner and George Fitzmaurice. This version of Émile Zola's heroine was to be the vehicle for Sten's triumph as Samuel Goldwyn's trained, groomed and heavily promoted answer to Greta Garbo. Despite the big investment, the publicity help from William Randolph Hearst, and a record-breaking opening week at Radio City Music Hall, Sten was beautiful but disappointing. Goldwyn's tutoring of Sten is mentioned in Cole Porter's 1934 song "Anything Goes" from the musical of the same name: "If Sam Goldwyn can with great conviction / Instruct Anna Sten in diction / Then Anna shows / Anything goes."
Critics widely regard Nana as a cult-favorite piece of Drama cinema. Its character-driven intensity is frequently cited as its strongest asset, solidifying its place in United States's film legacy.
Based on the unique character-driven intensity of Nana, our vault has identified these titles as the most compelling follow-up experiences for fans of Drama cinema:
Dir: Edward LeSaint
When famous opera singer Elinore Duane undergoes an operation on her throat, she has a series of ether-induced visions. In one, she is transported to ancient Rome where she appears as a much-admired woman in love with Paul, a young heretic, and at odds with Lutor, the high priest. To save her love, she poisons Lutor with her ring. After several other visions which involve variations on this love triangle, Elinore awakens to discover that Lutor is actually her doctor, Sascha Jaccard, and that Paul is the son of a friend who has come to visit the recovering prima donna.
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Dir: Colin Campbell
Dr. John Brandon, who cares for charity patients in the slums, is thrown together with writer Norma Ashley when her car strikes a boy whom Brandon treats. Under Norma's influence, and against the wishes of his friend Father Farrell, Brandon leaves the slums and becomes the partner of Dr. Thurston, who, unknown to Brandon, is Norma's fiance. Now prosperous, Brandon flies into a rage when he hears Thurston and Norma ridiculing him, and proceeds to beat Thurston and choke Norma to within an inch of her life. Taking to alcohol and drugs in his grief, Brandon becomes a derelict and goes out West to a mission town, where his loud proclamations of atheism provoke the wrath of a saloon crowd, from which his old friend Farrell rescues him. Farrell, now working in the Western parish, gradually restores the faith of Brandon, who falls in love with Mary Harrison, a blind girl who prays continually for her sight. Brandon performs an operation on Mary's eyes and her sight returns. Norma, who has found Brandon in the parish town, cannot persuade him to return to the city or to leave Mary, who accepts Brandon's love.
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Dir: Wilfred Lucas
Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.
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Dir: Alexander Butler
In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.
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Dir: Colin Campbell
Zora, a girl of French origin, is raised by a wealthy Bedouin family after her mother Valerie dies while eloping with another man. Zora feels such great longing for the French artist Adrien that she accepts the offer of another artist, Raoul, to take her to Paris with the stipulation that if Adrien rejects her, she must give herself to him. Jan, the chieftain's son who is in love with Zora, follows the two to Paris. There Zora realizes that Adrien does not love her and discovers her real love for Jan. However, she feels bound to honor her pact with Raoul and is about to succumb to his advances when her father appears and recognizes Raoul as the man who destroyed his home years earlier. In the ensuing fight between the two men, Raoul is killed, thus freeing Zora to accept Jan's love.
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Dir: Maurice Elvey
A lady marries a horse trainer but withholds herself until her crippled brother is cured.
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Dir: Harry Southwell
A fascinating piece of cinema that shares thematic elements.
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Dir: Bruno Ziener
A fascinating piece of cinema that shares thematic elements.
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Dir: Edgar Jones
A mail-order bride arrives at a Maine lumber camp but doesn't like her prospective husband.
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Dir: Tod Browning
Achmet Bey, a Turkish chieftain, catches one of his many wives in adultery and murders her lover. Throwing aside the cuckolding wife, he abducts his harem an innocent girl. However, a brave American who loves her comes to her rescue.
View DetailsAnalysis relative to Nana
| Film Title | Atmosphere | Complexity | Similarity |
|---|---|---|---|
| A Sister to Salome | Gothic | High | 88% Match |
| When Dawn Came | Surreal | High | 90% Match |
| The Jackeroo of Coolabong | Ethereal | High | 85% Match |
| The Night Riders | Ethereal | High | 96% Match |
| Moon Madness | Surreal | Layered | 95% Match |
This guide was algorithmically generated using the cinematic metadata of Dorothy Arzner's archive. Last updated: 6/20/2026.
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