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 opens with the film that marked the beginning of their prolific and celebrated partnership, 1982’s The Draughtsman’s Contract. This film marked the beginning of a prolific and celebrated partnership, with Nyman’s driving, baroque score becoming an essential element of Greenaway’s distinct visual style.
Set in the lush English countryside at the close of the 17th century, The Draughtsman’s Contract is a labyrinthine tale of art, seduction, and deception. When Mrs. Virginia Herbert commissions a young, arrogant artist named Mr. Neville to produce a series of detailed drawings of her estate, their arrangement includes not only payment, but certain intimate privileges. As Neville obsessively sketches the grounds with mathematical precision, he begins to uncover cryptic clues and shifting allegiances that suggest a darker intrigue beneath the estate’s manicured surface.
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Allan Moyle is a Canadian writer and director known for his offbeat, character-driven films that often explore youth rebellion, outsider identity, and the transformative power of music. He gained cult acclaim with his sharp, politically charged 1990 teen drama Pump Up the Volume, and his vibrant 1995 ensemble piece set inside a struggling indie record store, Empire Records; both films have found a devoted following for their quirky charm, quotable dialogue, and celebration of teen individuality. Almost 50 years since his directorial debut, 1977’s The Rubber Gun, Moyle’s work remains beloved for its sincerity, countercultural spirit, and empathy for misfits on the fringes.
Sandy Stern is an accomplished film producer known for championing bold, unconventional storytelling across a wide range of genres. He rose to prominence with the 1990 cult favorite Pump Up the Volume, which established his reputation for backing visionary, risk-taking filmmakers. Over the next decade, Stern played a key role in bringing to life some of the most inventive and iconoclastic films of the era, including Todd Haynes’ 1998 glam-rock fantasia Velvet Goldmine, Spike Jonze’s 1999 mind-bender Being John Malkovich, and the subversive 2004 teen satire Saved! Whether producing edgy dramas, surreal comedies, or heartfelt misfit tales, Stern’s work consistently foregrounds fresh voices and offbeat perspectives, making him a vital figure in the landscape of American independent cinema.
