Chelsea Girls is a 1966 American experimental underground film directed by Andy Warhol and Paul Morrissey. Noted for its split-screen presentation and alternating use of color and black-and-white footage, the film features a series of loosely connected vignettes centered on Warhol's "superstars," many of whom were filmed inside New York's Chelsea Hotel. Upon its release, Chelsea Girls became Warhol's first commercial success and is regarded as a landmark of underground cinema for its unconventional structure, improvisational performances, and voyeuristic style. The original cut runs at just over three hours long.

In 2024, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

The cast of the film is largely made up of persons playing themselves, and are credited as follows:

According to scriptwriter Ronald Tavel, Warhol first brought up the idea for the film in the back room of Max's Kansas City, Warhol's favorite nightspot, in 1966. Warhol superstars Nico, Edie Sedgwick, and International Velvet were all living in the Chelsea area. Warhol, newly returned from touring with the Velvet Underground, decided to make a film set there and titled it Chelsea Girls. He had no specific theme in mind and no real script—only the idea of filming "people doing different things." Warhol invested roughly $1,500 to the production, a sum at least three times greater than the typical budget for his underground films.

The film was shot in the summer and early autumn of 1966, in various rooms and locations inside the Hotel Chelsea. Filming also took place at Warhol's studio, The Factory. Appearing in the film were many of Warhol's regulars, including Nico, Brigid Berlin, Gerard Malanga, Mary Woronov (as Hanoi Hannah), Ingrid Superstar, "International Velvet" and Eric Emerson. According to Burns's documentary, Warhol and his companions completed an average of one 33-minute segment per week.

Once principal photography wrapped, Warhol and co-director Paul Morrissey selected the 12 most striking vignettes they had filmed, and then projected them, side-by-side, to create a visual juxtaposition, of both contrasting images and divergent content (the so-called "white" or light, and innocent aspects of life, against the "black" or darker, more disturbing aspects). As a result, the 6.5-hour running time was effectivelly cut in half, to 3 hours and 15 minutes. However, part of Warhol's concept for the film was that it would be unlike watching a regular movie, the two projectors could never achieve exact synchronization from viewing to viewing; therefore—despite specific instructions of where individual sequences would be played, during the running time, each viewing of the film would, in essence, be an entirely different experience.

Several of the sequences have gone on to attain a cult status, most notably the "Pope" sequence, featuring avant-garde actor and poet Robert Olivo, or Ondine as he called himself, as well as a segment featuring Mary Woronov titled "Hanoi Hannah," one of two portions of the film scripted specifically by Tavel.

Notably missing is a sequence Warhol shot with Edie Sedgwick which, according to Morrissey, Warhol excised from the final film at the insistence of Sedgwick, who claimed she was under contract to Bob Dylan's manager Albert Grossman at the time the film was made. Sedgwick's footage was used in the Warhol film Afternoon.