--- title: "The Voyeurs" year: 2021 kind: "film" canonical: "https://film.one/film/the-voyeurs" fi1m_id: "the-voyeurs" imdb_id: "tt11235772" tmdb_id: 645710 wikidata_id: "Q73792015" fi1m_score: 62 critics_score: 61 critics_reviews: 5 published: "2026-09-23T11:27:38.516987+00:00" updated: "2026-09-23T11:27:51.525133+00:00" region: "CL" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Voyeurs (2021) Directed by Michael Mohan · 1h 57m · Thriller ## Identity The Voyeurs - **Canonical:** https://film.one/film/the-voyeurs - **Type:** Film - **Fi1m ID:** the-voyeurs - **IMDb ID:** tt11235772 - **TMDB ID:** 645710 - **Wikidata ID:** Q73792015 - **Same entity:** https://www.imdb.com/title/tt11235772/, https://www.themoviedb.org/movie/645710, https://www.wikidata.org/wiki/Q73792015 **Fi1m score: 62** · Critics 61 (early) from 5 reviews *In a sentence:* The eavesdropping equipment gets more careful handling than the characters > Michael Mohan’s erotic thriller makes spying feel tempting, helped by Sydney Sweeney and Justice Smith. The visual invention earns some patience, but thin character writing and increasingly contrived plotting make this one for genre enthusiasts. ## Synopsis Pippa (Sydney Sweeney) and Thomas (Justice Smith) take an interest in their neighbours, and watching is not enough: they want to listen, too. A laser becomes a means of eavesdropping, turning curiosity into a practical exercise in intrusion. Ben Hardy plays Seb and Natasha Liu Bordizzo plays Julia in a story driven by the urge to find out what other people are doing. For Pippa and Thomas, the obstacle is the distance between what they can observe and what they can know. Going further means deciding how much privacy they are willing to disregard. ## Review Michael Mohan’s *The Voyeurs* is a watchable erotic thriller with more appetite than judgement. It makes spying seem tempting and gives its leads enough warmth to make their curiosity engaging. Then the plotting becomes busier and the characters become harder to care about. We would recommend it to enthusiasts of the genre, provided they can accept a good deal of contrivance in exchange for some enjoyable misbehaviour. Pippa (Sydney Sweeney) and Thomas (Justice Smith) give the film its most useful asset: the feeling that curiosity can be something people enjoy together. The laser-assisted eavesdropping makes that pleasure unusually concrete. We were amused, then slightly ashamed of ourselves, because the practical business of listening to the neighbours makes an invasion of privacy feel like a small achievement. For a while, following the mechanics is enough to distract us from asking what right anyone has to listen. Elisha Christian’s cinematography encourages that willingness to look, and Adam Reamer’s production design contributes to the visual appeal. The images are inviting enough to make the film’s interest in voyeurism credible, even when the writing begins to labour it. Christian Masini’s match cuts are particularly effective, giving us connections to notice instead of more dialogue to absorb. These passages have a fluency the rest of the film does not sustain, and they help carry some fairly thin material. The sex scenes work because Michael Mohan gives desire some attention of its own. They are allowed to be pleasurable, which matters in a film that needs us to understand the wish to keep watching. Sydney Sweeney and Justice Smith are better served by shared curiosity than by dialogue that keeps explaining what we can already grasp. We wanted more time with that chemistry, but the screenplay, also by Michael Mohan, keeps finding reasons to make everything more complicated. Will Bates’s score supplies unease without solving the central problem: the people remain underwritten. As the complications accumulate, the film needs stronger attachments than it has built, and music cannot provide them. The dialogue and insistent symbolism also leave little for us to work out about what the film thinks of watching other people. At 117 minutes, it spends too long making points that were clear earlier, with Christian Masini’s neat visual transitions offering only intermittent relief. The return to the erotic thrillers of the 1980s and 1990s is welcome in itself, though this one borrows their weaknesses along with their pleasures. A thriller can survive improbable behaviour when desire makes that behaviour convincing. Here the later plotting repeatedly asks us to accept developments because another surprise is due, and the emotional consequences receive too little attention. We will leave those developments undescribed; the objection is to how hard the screenplay works to arrange them. There is still enough mischief here to keep a forgiving viewer interested. The visual storytelling, the eavesdropping and the leads’ early rapport suggest a more satisfying film than the script eventually permits. Its thinness matters most when it asks us to take the complications seriously. Choose it for the spying, and be prepared to forgive much of what the script does afterwards. *Fi1m score 62, published 23 September 2026.* ## Straight answers **Is The Voyeurs worth watching?** *The Voyeurs* is worth considering for erotic thriller enthusiasts who can forgive contrived plotting; we score it 62 out of 100. The inventive visual storytelling and Sydney Sweeney and Justice Smith’s early rapport make the spying engaging, but thin characters and increasingly laboured complications keep our recommendation cautious. **How long is The Voyeurs, and what is it rated?** *The Voyeurs* runs 1h 57m. It is a thriller film. **Where can I watch The Voyeurs in Chile?** *The Voyeurs* is streaming on Amazon Prime Video in Chile. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Voyeurs, and is it suitable for children?** *The Voyeurs* is an adult erotic thriller with a US R certificate and sex scenes, so we would not recommend it for children. Its voyeurism and music create unease, but we cannot offer a specific warning about violence or judge its suitability for squeamish viewers from the available content details. **How does The Voyeurs compare to Rear Window?** *The Voyeurs* is the less disciplined thriller beside [*Rear Window*](https://film.one/film/rear-window), which we recommend more strongly for its precise, unsettling handling of curiosity and the pleasure of looking. Both make watching other people engaging, but *The Voyeurs* puts more emphasis on erotic pleasure and eavesdropping equipment, with thinner characters and more contrived plotting. **What should I watch after The Voyeurs?** After *The Voyeurs*, try [*Rear Window*](https://film.one/film/rear-window) (1954, Fi1m 94): A more disciplined study of curiosity, distance and the pleasure of looking. Then [*The Conversation*](https://film.one/film/the-conversation) (1974, Fi1m 92): For the eavesdropping, and for a much more troubling sense of responsibility; and [*The Handmaiden*](https://film.one/film/the-handmaiden) (2016, Fi1m 85): Desire and deception given richer characters and far more persuasive consequences. ### Reviews we read (5) - **The Guardian** (82/100, inferred): The film is a fun and sexy erotic thriller throwback that quenches a thirst for mature, libidinous cinema. The critic singles out its playful, ironic Rear Window homage and nuanced, pleasurable sex scenes for praise. [Read](https://www.theguardian.com/film/2021/sep/08/the-voyeurs-sydney-sweeny-amazon-rear-window) - **RogerEbert.com**, Nick Allen (65/100, inferred): The critic finds the film fairly good at delivering trashy, provocative thrills tailored for streaming viewers, with strong turns from Sydney Sweeney and Justice Smith that highlight curiosity and chemistry. It struggles with emotional depth and leans on contrived twists and on-the-nose symbolism in its later acts. [Read](https://www.rogerebert.com/reviews/the-voyeurs-movie-review-2021) - **Slant Magazine**, Mark Hanson (65/100, inferred): The critic finds the film a preposterous but committed erotic thriller that harks back to 80s/90s genre cycles with its lurid twists and voyeuristic themes, though it offers little new insight and piles on complications in the final act. [Read](https://www.slantmagazine.com/film/the-voyeurs-review-michael-mohan/) - **Variety**, Nick Schager (30/100, inferred): The critic calls the film a limp, rehashed erotic thriller that regurgitates musty ideas from Rear Window and 1990s predecessors without generating real steam or suspense. A late twist provides minor personality, but overall it feels like flaccid B-movie fare. [Read](https://variety.com/2021/film/reviews/the-voyeurs-review-1235054193/) - **The Playlist**, Lauren Coates (C+): The critic finds the film sluggish and predictable with poor pacing, clunky dialogue, and stiff lead performances that fail to generate erotic tension. Visual storytelling with clever match cuts and an unpredictable third-act payoff are singled out as strengths. [Read](https://theplaylist.net/the-voyeurs-review-20210908/) ## Details - **Director:** Michael Mohan - **Director:** Michael Mohan - **Writer:** Michael Mohan - **Cinematography:** Elisha Christian - **Editor:** Christian Masini - **Music:** Will Bates - **Production design:** Adam Reamer - **Producer:** Greg Gilreath, Adam Hendricks - **Cast:** Sydney Sweeney as Pippa; Justice Smith as Thomas; Ben Hardy as Seb; Natasha Liu Bordizzo as Julia; Katharine King So as Ari; Cameo Adele as Joni; Jean Yoon as Dr. Sato; Cait Alexander as Sam - **Runtime:** 1h 57m - **First release (Canada):** 25 August 2021 - **Genres:** Thriller - **Trailer:** https://www.youtube.com/watch?v=_fiCdELSwwI ## Where to watch in Chile - Amazon Prime Video: streaming, uhd *Checked 2026-09-23.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Rear Window* (1954), Fi1m 94: A more disciplined study of curiosity, distance and the pleasure of looking. — [Fi1m page](https://film.one/film/rear-window.md) - *The Conversation* (1974), Fi1m 92: For the eavesdropping, and for a much more troubling sense of responsibility. — [Fi1m page](https://film.one/film/the-conversation.md) - *A Short Film About Love* (1988): A more tender, troubling account of watching someone without their knowledge. - *Swimming Pool* (2003): A slower, more ambiguous treatment of desire, observation and other people’s lives. - *The Handmaiden* (2016), Fi1m 85: Desire and deception given richer characters and far more persuasive consequences. — [Fi1m page](https://film.one/film/the-handmaiden.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-voyeurs