When a twenty-something retail clerk encounters a rising pop star, he takes the opportunity to edge his way into the in-crowd. But as the line between friend and fan blurs beyond recognition, access and proximity become a matter of life and death.This is Lurker. 

The directorial debut from The Bear and Beef writer-producer Alex Russell, Lurker is an exhilarating cat-and-mouse thriller made for the moment. Online fixation meets reality in this parasocial, paranoid film driven by a brilliant score and star-making performances.

Love, Brooklyn is about Brooklynite writer assigned with writing a piece on the borough’s renaissance post-COVID. With his work deadline looming, he bikes around the borough, and at the same navigates the complexities of intertangled relationships in his life, including with: Casey (Nicole Beharie), his gallerist ex-girlfriend whom he is trying to remain friends with and who is dealing with her own professional deadlines; Nicole (DeWanda Wise), his new situationship who is a recent widow and new single mother studying to be a massage therapist; and Alan (Roy Wood Jr.), his best friend who is increasingly interested in cheating on his wife. Like Brooklyn itself, our characters are at moments in their lives where they need to leap forward while also needing to hold onto the pasts that have shaped them.

Premiering at Sundance earlier this year, Love, Brooklyn is a deeply romantic film, focusing on the connections of these characters and how they choose to operate within a changing world, both individually and together. The film’s tone is remarkably lovely in a way that we so rarely get to see from romantic dramas.

The film is the debut feature from filmmaker Rachael Abigail Hodler, and a large part of her intention in achieving this tone was to tell a story of Black people that isn’t seeped in tragedy. As she put it in her director’s statement from the film’s Sundance press notes: “As a filmmaker, I want to tell stories about sensitive Black people who cry and feel, in life not tragic or saccharine… I hope to expand the representation of what it means to be Black and what’s cool about this moment of inclusion in storytelling is that I don’t have to try to represent Blackness as a whole or all Black people. I can be really specific with how I see people, how they love, hide from love and ultimately show up for it. I want to show the soft parts of the people who look like me. I want to show the sensitive bits that show up, not when we are in danger or inferior but when we are in love.”

Join our friends at See It On 16mm as they present a full feature-length block of various cartoons and vintage TV commercials that’ll make you feel like you’re chowing down on some breakfast cereal on an early Saturday morning!

Tickets will be our normal $9 matinee rate. All cartoons and commercials will be projected on 16mm film. See ya there!

The final film in our Technicolor Summer series reaches the celestial with A Matter of Life and Death—a visionary romance that floats between worlds, from war-torn Earth to the halls of a fantastical afterlife, in one of the most inventive films ever made.

David Niven stars as Peter Carter, a British RAF pilot who miraculously survives a doomed jump from his burning plane—only to fall in love with June (Kim Hunter), the American radio operator who heard his final words. But Peter was meant to die, and when the otherworldly authorities realize their clerical error, he must plead his case for life in a cosmic courtroom, where love itself becomes the ultimate argument.

Directed by Michael Powell and Emeric Pressburger, this genre-defying masterpiece blends romance, fantasy, and philosophical inquiry with dazzling visual artistry.

In the early 1930s, the 3-strip Technicolor process was introduced to audiences, inviting them to experience a world dripping with vibrant saturation for the very first time. The Technicolor Summer series ranges from familiar classics to rarely-screened gems all Summer long!

Santo Sundays rumbles along with Santo En El Tesoro De Drácula!

El Santo assembles a time machine. After somebody uses the machine to find the hidden location of Drácula’s treasure, El Santo must hunt down & battle the fearless vampire leader. 

Trash-Mex is proud to collaborate with Permanencia Voluntaria Archivo Cinematográfico for a special screening series of Mexican icon El Santo. Join us every other Sunday this Summer for a total of eight of his greatest hits! All films will be presented in Spanish with English subtitles. Admission is $9.

Hot off of screening at Toronto International Film Festival, The Frida Cinema is excited to present weeklong run of Sam Hayes’ new film Pools. 

Kennedy has one day to get her shit together or get kicked out of school for good. Instead of buckling down, she rallies a ragtag crew for a midnight pool-hopping adventure through the lavish estates of her college town. But under the surface, Kennedy is searching for answers to the questions tearing her up inside in the wake of her father’s death. As the secrets spill, this wild escape becomes a cathartic journey of self-discovery.

Widely regarded as one of the most harrowing antiwar films ever made, Elem Klimov’s Come and See (1985) is not merely watched—it’s endured. A hallucinatory descent into the heart of wartime atrocity, this Soviet masterpiece marks its 40th anniversary with a limited run at The Frida Cinema, now restored in 4K. 

When 14-year-old Flyora (a devastating Aleksei Kravchenko, delivering one of cinema’s most haunting performances) joins the Soviet partisans to fight back against the Nazi invasion of Belarus, he dreams of glory. What follows is something far more nightmarish—a journey through villages reduced to ash signaling the brutal erasure of innocence.

Shot with unnerving intimacy, Come and See immerses you in the psychological collapse of a child thrust into a world beyond comprehension. Its script was nearly buried for eight years by Soviet censors—and when it was finally unleashed, it left a mark that has never faded. Unflinching, unforgettable, and necessary, Come And See is a masterpiece and (unfortunately) more relevant than ever.

Do you know anything about witches? A technicolor nightmare bathed in neon light and scored to the pounding, otherworldly rhythms of Goblin, Dario Argento’s Suspiria is a singular, sensory assault and one of the most iconic horror films ever made. 

Suzy (Jessica Harper) travels to Germany to attend ballet school. When she arrives, late on a stormy night, no one lets her in, and she sees Pat (Eva Axén), another student, fleeing from the school. What happens after that is a descent into colorful mystery madness that only Argento could deliver.

Released in 1977 and still unlike anything before or since, Suspiria is the film Argento will be remembered for: a Giallo that transcends the genre, dripping with dread, saturated in color, and terrifying in ways that defy logic. It’s horror as high art—and high art as hallucination. Don’t miss this certified Frida Cinema favorite loud and proud on the big screen where it belongs!