Party Like It's 1999
Celebrating 25 Years of some of your favorite films!
Being John Malkovich
- Fri, Nov 15
- Sat, Nov 16
- Sun, Nov 17
The Frida Cinema's seating is first-come, first-serve. For our Midnight Screenings, please plan on arriving by 11:30pm to ensure ample time for parking, picking up concessions, and securing optimal seats. Screening will begin promptly at midnight.
Director: Spike Jonze Run Time: 113 min. Rating: R Release Year: 1999
Starring: Cameron Diaz, Catherine Keener, John Cusack, John Malkovich, Mary Kay Place
Up next in our Party Like It's 1999 series is Being John Malkovich, Spike Jonze's wildly inventive dark comedy! Craig Schwartz (John Cusack) is a struggling puppeteer who discovers a portal inside a mundane office building that leads directly into the mind of actor John Malkovich. Upon entering, people can experience life as Malkovich for 15 minutes before being ejected onto the side of a New Jersey highway. Craig, along with his wife Lotte (Cameron Diaz) and his colleague Maxine (Catherine Keener), devises a scheme to sell access to the portal. As they exploit this bizarre opportunity, tensions rise, relationships become strained, and Malkovich himself begins to unravel as he confronts the bizarre invasion of his mind.
The Virgin Suicides
- Thu, Nov 21
- Fri, Nov 22
- Mon, Nov 25
- Tue, Nov 26
The Frida Cinema's seating is first-come, first-serve. For our Midnight Screenings, please plan on arriving by 11:30pm to ensure ample time for parking, picking up concessions, and securing optimal seats. Screening will begin promptly at midnight.
Director: Sofia Coppola Run Time: 97 min. Rating: R Release Year: 2000
Starring: James Woods, Josh Hartnett, Kathleen Turner, Kirsten Dunst, Michael Paré
The next entry in our Party Like It's 1999 series is The Virgin Suicides, Sofia Coppola's dreamlike directorial debut. The story of five sisters, and their mysterious existence growing up in the 1970s. The film follows the chain of events initiated by one of the Lisbon sisters' suicide attempt, and its effects on their family, their suburban town and most importantly, the young men who loved the Lisbons from afar and whose words provide the narrative for the film.