A24 Films is proud to present the newest film in their 2025 slate–Sorry, Baby.

Written, directed by, and starring Eva Victor, Sorry, Baby follows Agnes, a once-promising academic whose life is frozen in the aftermath of a shattering personal betrayal—known only as “the bad thing.” Over the course of five emotionally intricate chapters, the film traces Agnes’s attempts to move forward while stuck in place, navigating the small-town routines of her adult life in New England. When her childhood friend Lydie (Naomi Ackie) returns from New York, their reunion reignites buried tensions, old comforts, and the question of whether healing is possible—or if survival is enough.

A sharply observed and darkly funny portrait of internalized grief and human connection, Sorry, Baby is both intimate and expansive, capturing the textures of time, memory, and the strange ways people grow apart, then back together.

This August, The Frida Cinema proudly presents Greenaway & Nyman, a film series celebrating four of the most iconic collaborations between filmmaker Peter Greenaway and composter Michael Nyman.  Our series’ third film is 1988’s Drowning by Numbers, Greenaway’s wickedly playful and morbid game of murder, repetition, and structure.

Joan Plowright, Juliet Stevenson, and Joely Richardson star as three women from the same family, all of whom are each named Cissie Colpitts. Under seemingly rational pretenses, each woman drowns her own husband — but rather than seek justice, local coroner Madgett (Bernard Hill) becomes complicit, lured by his own ambitions. Structured like a counting game by literally placing the numbers 1 through 100 sequentially within its visuals and dialogue, Drowning by Numbers is an exercise in visual beauty marked by escalating absurdity, a grimly comic dark fable about rules, rituals, fate, and numbers.

Nominated for the Palm d’Or at the 1988 Cannes Film Festival, Drowning By Numbers took home the festival’s Best Artistic Contribution prize, and won the Best Director Award at the Seattle International Film Festival.

Based on the real-life story of serial murderer Akira Nishiguchi, Vengeance Is Mine is the next film in our Arthouse 101: Japanese Cinema series! The story follows Iwao Enokizu, a charming drifter and remorseless killer who leaves a trail of death and deception across Japan. But this is not a crime thriller—it’s a forensic excavation of a man’s broken psyche and a nation’s suppressed demons.

Director Shohei Imamura—known for his fascination with society’s underbelly—eschews sensationalism for something more disturbing: a portrait of evil not as anomaly, but as a product of postwar dislocation, generational trauma, and cultural repression. This is Japan far removed from the poetics of Ozu or the mythic ghosts of Kobayashi.

Arthouse 101: Japanese Cinema is a curated 12-film trip through the evolution of Japan—from the quiet post-war resilience of the 1940s all the way to the radical reinventions of the 1990s. Each Monday this July-September, we will explore a new facet of this incredible nation’s cinematic journey throughout the 20th century! All films will be presented in their original Japanese language with English subtitles!

Our Page To Screen series is opening up the storybook that never gets old–Rob Reiner’s The Princess Bride!

This is the rare film that truly has something for everyone: part fairy tale, part swashbuckling adventure, part romantic comedy, and all heart. Adapted by William Goldman from his own novel, it follows the epic love story of Westley and Buttercup, spun by a grandfather (Peter Falk) reading to his skeptical grandson (Fred Savage). Along the way? Duels, deception, miracle pills, and some of the most quotable dialogue ever put to screen.

Whether it’s your first time or your fiftieth, The Princess Bride is a timeless story of love, laughter, and one very determined man in black.