We’re cutting a little deeper with the second film in our Black Gloves & Crimson Blood series, straight into the subconscious of filmmaker Dario Argento with the nightmarish pairing of Four Flies On Grey Velvet and Door Into Darkness!
In Four Flies on Grey Velvet, the final entry in Argento’s “Animal Trilogy,” a rock drummer becomes ensnared in a blackmail plot that spirals into surreal paranoia and psychedelic dread. Rarely screened and long shrouded in cult mystique, it’s a slippery, dreamlike thriller featuring one of Argento’s most unforgettable death sequences.
Then: Door into Darkness, Argento’s rare foray into television. Acting as both host and creative force, he delivers a chilling episode that strips murder down to its most primal, procedural elements!
There will be a 15 minute intermission between the movies. One ticket purchase gets you access to both films.
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Our descent into the delirious world of Dario Argento begins with a blood-soaked one-two punch: his genre-defining debut The Bird with the Crystal Plumage and its twisted, paranoid follow-up The Cat O’ Nine Tails.
With Plumage, Argento burst onto the international stage, fusing Hitchcockian suspense with a bold visual style that would come to define the Giallo genre. It’s a razor-sharp thriller told through black leather gloves, shattered memories, and the killer’s point of view. Just a year later, The Cat O’ Nine Tails took the formula deeper into conspiracy and scientific obsession—doubling down on the tension, body count, and baroque atmosphere.
These are murder mysteries where the plot is secondary to sensation. Fear is a color, violence is choreography, and the camera is a voyeur. Don’t miss these two Italian horror classics on the big screen! There will be a 15 minute intermission between the movies. One ticket purchase gets you access to both films.
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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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See It On 16mm is back at The Frida Cinema to unspool a print of Bride Of Frankenstein, celebrating the 90th anniversary of one of cinema’s most electrifying sequels ever made!
Released in 1935, Bride of Frankenstein is widely regarded as a rare example of a sequel that surpasses the original. Combining gothic horror with biting wit, surreal visuals, and unexpected pathos, director James Whale elevated the genre to new artistic heights. Boris Karloff returns in a haunting and deeply human performance as the Monster, while Elsa Lanchester’s unforgettable turn as the Bride remains a cultural touchstone nearly a century later.
With its bold themes of creation, loneliness, and the limits of human ambition, Bride of Frankenstein continues to resonate — as relevant and provocative now as it was 90 years ago.
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The iconic moment when Mary Philbin removed Lon Chaney’s mask in The Phantom of the Opera (1925, dir. Rupert Julian) is one of cinema’s most enduring images. Now, The Invincible Czars will bring their signature blend of eclectic instrumentation, adventurous arrangements and sense of emotional depth to this 100-year-old classic with their new, tastefully modern soundtrack, performing it live with the film in art house cinemas across the US and Canada in 2025!
The tour will celebrate the 100th anniversary of this early American horror film. The band has been captivating both music and film enthusiasts across North America since 2015 when their soundtrack for Nosferatu earned them accolades in the art house community and made them staple of the silent film circuit.
The Czars’ Phantom of the Opera soundtrack is the culmination of nearly a year of meticulous composition, recording, and collaboration. The group drew inspiration from the film’s gothic visuals and haunting narrative to craft a score using their primary instruments: piano, violin, electric guitar/bass, organ, flute, drums and bass clarinet. They create a live experience so immersive that it’s easy to forget the music is being played live at times!
Doors open 7:30PM; show is at 8 p.m. Tickets are $20 and Frida Cinema Member Discounts do not apply.
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Fans of atmospheric horror and psychological dread are in luck! The next film in our Hallucinations series is 1971’s Let’s Scare Jessica To Death!
Recently released from a mental institution, Jessica moves to the countryside with her husband and a friend, hoping for peace and a fresh start. Instead, she finds whispers in the orchard, strangers in the lake, and the creeping suspicion that either she’s being haunted—or she’s slipping back into madness. Directed by John Hancock, scored with ghostly minimalism, and photographed like a faded dream, this is New England horror at its most hushed and haunting.
Released in 1971 to little fanfare and growing cult reverence, it remains one of the most quietly devastating and psychically destabilizing horror films of its era.
Hosted by Polygon’s editor-in-chief Chris Plante, Hallucinations is a monthly event that spotlights movies that challenge our expectations of story, style, and “good taste”. Plante will introduce each film with some behind-the-scenes history and critical context. With Hallucinations, The Frida Cinema wants to build a communal space for lovers of Weird Cinema. We invite guests to bond over films that change what we expect from the medium, the world, and themselves. So come early, stay late, make friends, and watch something strange, surprising, or just shamelessly sick.
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Join us for a one-night-only extravaganza of Z-movie mayhem as we present a screening Hotspring Sharkattack!
In a small hot spring town in Japan, a ferocious ancient shark reawakens and begins terrorizing the local hot spring facilities. As the threat escalates, the townspeople band together to protect their beloved town from the menacing predator, leading to a fierce and thrilling battle!
Complete with a beach party, surf rock, and a karaoke clambake where, yes, everyone gets lei’d. Real cinema is back!
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Dan O’Bannon’s The Return of the Living Dead is coming (back from the grave) to The Frida Cinema for its 40th Anniversary as part of our Fireworks At The Frida week!
What if Night of the Living Dead got punk, got louder, and got way, way messier? Enter 1985’s The Return of the Living Dead—the film that gave zombies the power to run, talk, and specifically request brains. A gleefully anarchic horror-comedy that helped redefine the undead for an entire generation, this movie turns graveyards into dance floors and medical supply warehouses into apocalyptic battlegrounds.
Directed by Dan O’Bannon (co-writer of Alien) and featuring a killer soundtrack of ’80s punk and death rock (The Cramps, 45 Grave, T.S.O.L.), the film follows a group of hapless employees and way-too-cool punks as they accidentally unleash a toxic gas that reanimates corpses—starting with a tar-covered nightmare named Tarman and escalating into full-blown zombie chaos.
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Taking our Arthouse 101: Japanese Cinema series into the 90’s is Kiyoshi Kurosawa’s heart-pounding 1997 thriller Cure, widely regarded as one of the best, most original, and most influential psychological horror films of the decade.
A detective investigates a string of grisly murders—each victim killed in the same ritualistic manner, each murderer caught at the scene, unable to explain why they did it. The only connection? A mysterious drifter who seems to erase people’s memories—and unlock something buried deep inside them.
With icy precision and a creeping sense of dread, Cure is not just a murder mystery—it’s a meditation on identity and unraveling. Shot in long, haunting takes and drained colors, the film moves like a fog over post-economic-boom Japan: quiet and uncertain.
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.
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Kicking off the August portion of our Arthouse 101: Japanese Cinema series is Kwaidan, director Masaki Kobayashi’s fascinating meditation on memory, regret, and the delicate boundary between the living and the dead.
Taking its title from an archaic Japanese word meaning “ghost story,” this anthology adapts four folk tales. A penniless samurai marries for money with tragic results. A man stranded in a blizzard is saved by Yuki the Snow Maiden, but his rescue comes at a cost. Blind musician Hoichi is forced to perform for an audience of ghosts. An author relates the story of a samurai who sees another warrior’s reflection in his teacup.
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!
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