The Red Shoes is a 1948 British drama film written, produced and directed by Michael Powell and Emeric Pressburger. It follows Victoria Page (Moira Shearer), an aspiring ballerina who joins the world-renowned Ballet Lermontov, owned and operated by Boris Lermontov (Anton Walbrook), who tests her dedication to the ballet by making her choose between her career and her romance with composer Julian Craster (Marius Goring).

It marked the feature film debut of Shearer, an established ballerina, and also features Robert Helpmann, Léonide Massine, and Ludmilla Tchérina, other renowned dancers from the ballet world. The plot is based on the 1845 fairytale by Hans Christian Andersen, and features a ballet within it by the same title, also adapted from the Andersen work.

The Red Shoes was filmmaking team Powell and Pressburger's tenth collaboration and follow-up to 1947's Black Narcissus. It had been conceived by Powell and producer Alexander Korda in the 1930s, from whom the duo purchased the rights in 1946. The majority of the cast were professional dancers. Filming of The Red Shoes took place in mid-1946, primarily in France and England.

Upon release, The Red Shoes received critical acclaim, especially in the United States, where it received a total of five Academy Award nominations, including a win for Best Original Score and Best Art Direction. It also won the Golden Globe Award for Best Original Score and was named one of the Top 10 Films of the Year by the National Board of Review. Despite this, some dance critics gave the film unfavourable reviews as they felt its fantastical, impressionistic centrepiece sequence, influenced by German expressionistic cinema of the 1920s, depicted ballet in an unrealistic manner. The film proved a major financial success and was the first British film in history to gross over $5 million in theatrical rentals in the United States.

Retrospectively, The Red Shoes is regarded as one of the best films of Powell and Pressburger's partnership and one of the greatest films of all time. It was voted the ninth greatest British film of all time by the British Film Institute in 1999. The film underwent an extensive digital restoration beginning in 2006 at the UCLA Film and Television Archive to correct significant damage to the original negatives. The restored version of the film screened at the 2009 Cannes Film Festival and was subsequently issued on Blu-ray by The Criterion Collection. In 2017, a poll of 150 actors, directors, writers, producers, and critics for Time Out magazine saw it ranked the fifth best British film ever.