Greenwhich Entertainment’s newest release, Went Up The Hill, is coming to The Frida Cinema!

In this chilling ghost story, a recently deceased woman haunts her estranged son Jack (Dacre Montgomery of Stranger Things) and her grieving widow Jill (Vicky Krieps of Phantom Thread and Corsage). When the woman’s spirit inhabits the survivors, the living must grapple with the destruction she left behind while fighting for their own survival.

Went Up The Hill debuted earlier this year at the  Toronto International Film Festival.

We’re bringing back encores of Kaneto Shindô’s 1964 eerie classic Onibaba! This visceral, hypnotic tale set in Japan’s medieval past, is about two women – an older mother and her young daughter-in-law-living in isolation, killing lost samurai and trading their armor for food. But when a mysterious mask enters their world, desire, jealousy, and supernatural terror take root.

Shot in striking black and white, Shindo’s film blurs the lines between eroticism and horror, realism and folklore. Tall reeds sway ominously, the wind howls, and the mask – once worn to intimidate- becomes a symbol of inner torment and karmic consequence. It’s one of the most iconic and unsettling films of Japanese cinema.

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, at a reduced ticket price of $8.

Back by popular demand, Punch-Drunk Love—Paul Thomas Anderson’s strangest, sweetest, and most unexpectedly explosive film, is back at The Frida Cinema for one night only. Starring Adam Sandler in the performance of his career, this isn’t just a love story—it’s a pressure cooker disguised as a rom-com, wrapped in harmonium chords and shimmering blue light.

Sandler is Barry Egan, a painfully lonely novelty toilet plunger salesman with seven sisters, a hair-trigger temper, and a secret stash of pudding cups he’s collecting to hack a frequent flyer program. Enter Lena (Emily Watson), and suddenly, Barry’s life teeters from implosion to unlikely redemption—while being chased by phone sex scammers and Philip Seymour Hoffman at full “shut up shut up shut up” intensity.

Punch-Drunk Love is PTA at his most deceptively small, strangely romantic, and vibrantly unhinged.

The Toxic Avenger is back—bigger, louder, and more radioactive than ever! This 2025 reboot brings the beloved Troma antihero into the modern era with a fresh dose of outrageous gore, dark humor, and socially charged mayhem!

A horrible toxic accident transforms downtrodden janitor Winston Gooze into a new evolution of hero: The Toxic Avenger! Now wielding a glowing mop with super-human strength, he must race against time to save his son and stop a ruthless and power-hungry tyrant bent on harnessing toxic superpowers to strengthen his polluted empire.

Expect wild practical effects, outrageous action, and a satirical edge that’s as sharp as ever.

From the scorched deserts of California to the inner depths of one man’s ambition comes There Will Be Blood, a monumental American saga—and one of the greatest films of the 21st century, now getting a few encores as part of our One Banger After Another: The Films Of Paul Thomas Anderson series.

Daniel Day-Lewis delivers a titanic, Oscar-winning performance as Daniel Plainview, a silver miner turned oilman whose thirst for power burns brighter than the derricks he erects across the West. As towns rise and morals fall, Plainview wages war—against the land, against the Church, and eventually, against his own humanity. Across from him: Paul Dano, pulling double duty as twin brothers and spiritual adversaries, locked in a violent dance of faith and greed.

Shot by Robert Elswit in apocalyptic beauty and scored with nerve-jangling dread by Jonny Greenwood, There Will Be Blood is a film that doesn’t just depict America’s creation myth—it bleeds it.

Join us on Monday, September 1st for a screening of the new indie film Adjunct, and stick around after the screening for an in-person Q&A with the writer, director, and star of the film–Ron Najor!

In Adjunct, a Middle Eastern American writer turned adjunct college professor comes to terms with being undervalued at his job and figures out his next move. A profoundly personal exploration of purpose and resilience in a system that values flexibility over loyalty. 

Based on his real life experiences as an adjunct college professor, Ron Najor (producer of Short Term 12 and the upcoming Lucky Lu) wrote, directed, produced and starred in Adjunct as a means of sharing the behind the scenes realities of being an educator in the university system.

Arthouse 101: Japanese Cinema enters the 80’s with Jûzô Itami’s acclaimed Tampopo (original Japanese title: Tanpopo), an award-winning 1985 film that is truly like no other in our series – or in movie history, really. This deliriously inventive comedy follows a widowed ramen shop owner who, with the help of a mysterious trucker (a stoic parody of Clint Eastwood), sets out to create the perfect bowl of noodles. Along the way, we meet an ensemble of eccentric characters whose lives revolve – sometimes absurdly, sometimes erotically – around food.

Nominated for the Best Screenplay and Best Director awards by the National Society of Film Critics, Tampopo is billed as the first “ramen western,” Tampopo is both a genre spoof and a soulful tribute to Japanese cuisine and community. It’s a movie about perfection, pleasure, and the strange, spiritual rituals we attach to what we eat.

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. This July-October, 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, at a reduced ticket price of $8.