The teasingly entwined ambiguities of love and death are explored in Misericordia, now coming to The Frida Cinema for a limited engagement!
Set in an autumnal, woodsy village in his native region of Occitanie, his latest follows the meandering exploits of Jérémie (Félix Kysyl), an out-of-work baker who has drifted back to his hometown after the death of his beloved former boss, a bakery owner. Staying long after the funeral, the seemingly benign Jérémie begins to casually insinuate himself into his mentor’s family, including his kind-hearted widow (Catherine Frot) and venomously angry son (Jean-Baptiste Durand), while making an increasingly surprising—and ultimately beneficial—friendship with an oddly cheerful local priest (Jacques Develay).
In director Alain Guiraudie’s quietly carnal world, violence and eroticism explode with little anticipation, and criminal behavior can seem like a natural extension of physical desire. The French director is at the top of his game in Misericordia, again upending all genre expectations.
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Join us for a special screening of Keith Gordon’s 1988 drama The Chocolate War, after which the film’s star, Ilan Mitchell-Smith, will be joining us for a post-screening Q&A!
A dark and moody adaptation of Robert Cormier’s controversial 1974 novel, The Chocolate War set in a strict Catholic boys’ school ruled by tradition, manipulation, and silent oppression. When Jerry Renault (Ilan Mitchell-Smith), a new student at Trinity High School, refuses to participate in the school’s annual chocolate sale, he unwittingly challenges the authority of both corrupt Brother Leon (a menacing John Glover), as well as a secret student society known as The Vigils. His defiance sparks a quiet revolution — but also a descent into psychological warfare, where conformity and cruelty are weaponized to devastating effect.
The directorial debut of then-26-year-old actor Keith Gordon, who undoubtedly gained valuable insight from having worked with auteur legends like Bob Fosse (All That Jazz), Brian De Palma (Home Movies and Dressed to Kill), and John Carpenter (Christine), The Chocolate War employs a distinct visual and narrative style to powerfully convey the novel’s unsettling themes of power, rebellion, and the price of individuality. Anchored by stark cinematography by Tom Richmond, and a haunting ’80s soundtrack steeped in yearning and melancholy, The Chocolate War remains a powerful coming-of-age story that dares to ask what happens when standing up means standing alone.
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Filmmaker Jim Hosking (The Greasy Strangler) is back in his bag for another absurdist fever dream with his new movie Ebony & Ivory! And stick around after the screening for a special in-person Q&A with Sky Elobar and Gil Gex, the stars of the film!
Two musical legends gather at a Scottish Cottage on The Mull Of Kintyre for a tense summit to discuss a potential collaboration that will ultimately result in a Global Number One smash hit single.
Absolute nonsense or pure brilliance? Ebony & Ivory walks the line with ease, practically daring you not to laugh throughout.
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Filmmaker Jim Hosking (The Greasy Strangler) is back in his bag with another absurdist fever dream with his new movie Ebony & Ivory!
Two musical legends gather at a Scottish Cottage on The Mull Of Kintyre for a tense summit to discuss a potential collaboration that will ultimately result in a Global Number One smash hit single.
Absolute nonsense or pure brilliance? Ebony & Ivory walks the line with ease, practically daring you not to laugh throughout.
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Part science fiction, part noir, part poetry—Jean-Luc Godard’s Alphaville remains a landmark of experimental French New Wave cinema. On its 60th anniversary, step into a hypnotic future now remastered in 4K for the perfect big screen experience!
Lemmy Caution is on a mission to eliminate Professor Von Braun, the creator of a malevolent computer that rules the city of Alphaville. Befriended by the scientist’s daughter Natasha, Lemmy must unravel the mysteries of the strictly logical Alpha 60 and teach Natasha the meaning of the word “love.”
Don’t miss this rare chance to see one of cinema’s most influential dystopias on the big screen—where its stark beauty and radical ideas truly belong.
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A twisted reimagining of a beloved fairytale that has emerged as one of the most buzzed-about horror films of 2025, The Ugly Stepsister comes to The Frida for two late night screenings!
Writer-director Emilie Blichfeldt’s visceral, aesthetically-sumptuous gothic body‑horror presents the Cinderella story as experienced through the eyes of her overlooked stepsister. Set in a decaying 18th‑century kingdom of “Swedlandia,” The Ugly Stepsister centers on awkward, bookish Elvira (a sensational Lea Myren, making her feature-film debut), whose ambitious mother Rebekka (Ane Dahl Torp) forces her into brutal cosmetic procedures and deadly beauty rituals, none of which will be spoiled here, all in a desperate bid to win Prince Julian’s affection over her radiant stepsister Agnes (Thea Sofie Loch Næss). It’s not all blood and gore, however; drawing from the darker undertones of the original Grimm tale, as well as her own struggles with body image, Blichfeldt masterfully employs symbolism, and Myren’s intense and fully-committed performance, to craft a film that stirs empathy just as powerfully as it unsettles.
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Fifteen years after it first shocked audiences and redefined the boundaries of art house cinema, Dogtooth returns in a stunning new 4K restoration to The Frida Cinema just in time to ruin your Summer. The breakthrough feature from visionary filmmaker Yorgos Lanthimos (The Lobster, The Killing Of A Sacred Deer, The Favourite, Poor Things) is as provocative, surreal, and disturbingly funny as ever — now sharper and stranger than ever before.
Winner of the Un Certain Regard prize at Cannes and an Academy Award nominee for Best Foreign Language Film, Dogtooth is a razor-edged parable of control and conditioning. Isolated behind a fence and raised under a regime of invented truths, three adult siblings have never stepped beyond the boundaries of their family home. Language is manipulated, reality is manufactured, and any curiosity is punished with surgical precision.
With its stark visual style, bone-dry humor, and bursts of surreal violence, Dogtooth remains a landmark of weird Greek cinema — a film that startles, unsettles, and invites endless interpretation.
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Cloud, the stylish and subversive new thriller from suspense-maverick Kiyoshi Kurosawa (Cure, Pulse) has finally arrived at The Frida Cinema!
The story follows Yoshii, an ambitious, yet directionless, young factory worker from Tokyo who side hustles in the murky realm of black market reselling, cheating buyers and sellers alike. After swindling his way into loads of cash, Yoshii gradually attempts to disconnect from humanity, moving out of the city, shunning his girlfriend, and entrusting duties to his new, devoted assistant.
Before long his life is plagued by a series of mysterious, sinister incidents that threaten to upend his success and bring about a most violent demise. A master of carefully simmering tension to a bloody crescendo, Kurosawa delivers a searing portrait of digital greed and vengeance.
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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. We close our series with Greenaway’s 1989 masterpiece The Cook, The Thief, His Wife & Her Lover, a lurid, operatic masterpiece of gluttony, sumptuous beauty, and brutal vengeance, all set to Nyman’s famously haunting score, and almost entirely within the lavish confines of a French restaurant.
Albert Spica (Michael Gambon), a grotesquely boorish gangster, terrorizes guests and staff with his vulgarity and violence night after night at a fancy restaurant named Le Hollandais. His long-suffering wife Georgina (Helen Mirren), who quietly endures his abuse, begins a passionate affair with a gentle bookseller (Alan Howard), meeting him in secret among the restaurant’s corridors, kitchens, and storerooms. What unfolds is a richly stylized operatic tragedy, with color-coded sets that shift with each room, vibrant costumes by Jean-Paul Gaultier, and one of Michael Nyman’s most iconic scores.
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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 second film in the series is 1985’s A Zed and Two Noughts, a beautifully disturbing and darkly humorous take on erotic obsession and death.
When a swan causes a car accident in front of the Rotterdam Zoo, two women die and a third, Alba (Andrea Ferréol), loses her leg. Their two grieving husbands, twin zoologists Oliver and Oswald (Eric and Brian Deacon), fixate on their wives’ bodies, and slowly become obsessed with evolution and decomposition, even going as far as to meticulously craft exquisitely morbid time-lapsed films of decaying creatures. As the film evolves into an increasingly bizarre scientific fantasia, things get even stranger when a mad surgeon schemes to use Alba as a subject for his own experiments in animal symmetry. Highlighted by painterly compositions inspired by Vermeer, a hypnotic score by Nyman, and Greenaway’s signature dark comedy, A Zed and Two Noughts is a stylish and unsettling exploration of mortality and the limits of control.
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