You don’t have to go to another world to find terror. It’s already here. Our friends at See It On 16mm are unspooling Don Coscarelli’s cult classic Phantasm—a sci-fi-infused nightmare that defies logic and lingers long after the credits roll.
Released in 1979 and unlike anything else in the horror landscape, Phantasm follows two brothers grappling with death, loss, and something far stranger—an otherworldly mortician known only as the Tall Man (the iconic Angus Scrimm), who haunts their local cemetery with an army of hooded dwarves, chrome sentinel spheres, and inter-dimensional secrets that feel like a dream you can’t wake up from.
Phantasm is a low-budget cosmic horror fever dream filled with and a pervasive sense of dread that hits on an emotional frequency few horror films even attempt.
This program is a venue rental engagement. The views and opinions expressed in this program do not necessarily reflect the views or positions of The Frida Cinema or its staff.
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Greenwhich Entertainment’s newest release, Went Up The Hill, is coming to The Frida Cinema!
In this chilling ghost story, a recently deceased woman haunts her estranged son Jack (Dacre Montgomery of Stranger Things) and her grieving widow Jill (Vicky Krieps of Phantom Thread and Corsage). When the woman’s spirit inhabits the survivors, the living must grapple with the destruction she left behind while fighting for their own survival.
Went Up The Hill debuted earlier this year at the Toronto International Film Festival.
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Join us for a night of chilling camp, psychological suspense, and Old Hollywood fireworks as our Classic Movie Nights series delves into the deranged world of What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford—two screen legends whose off-screen rivalry was just as infamous as their on-screen performances (but we’ll let Bekah really fill you on the details here)—square off in this deliciously macabre tale of faded fame. Davis is unforgettable (and unhinged) as Baby Jane Hudson, a former child star rotting in her own delusions, while Crawford brings heartbreaking restraint as Blanche, her wheelchair-bound sister, trapped with a woman teetering between guilt and madness.
A cult classic of high-wire hysteria from director Robert Aldrich, What Ever Happened To Baby Jane? paved the way for “psycho-biddy” cinema and gave aging actresses roles they could sink their teeth into—sometimes literally.
Make sure to get to the screening early, as our Marketing Director Bekah will be doing a very informative and entertaining presentation on the film before it starts!
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Good Boy, the buzzy new horror film told from the perspective of a dog, finally scampers its way to The Frida!
A loyal dog (played by dog actor Indy, the director’s real life pet) moves to a rural family home with his owner Todd, only to discover supernatural forces lurking in the shadows. As dark entities threaten his human companion, the brave pup must fight to protect the one he loves most.
Premiering at this year’s South By Southwest, the film’s trailer gathered one million views in just its first four days, with its global interest only further piqued by its current 95% Rotten Tomatoes rating! Catch it on the big screen at The Frida!
The Frida will be donating a portion of ticket proceeds from our Thursday, October 2nd screening of Good Boy to OC Animal Allies! OC Animal Allies is a nonprofit organization founded with the mission to save animal lives and strengthen the human-animal bond in Orange County by providing emergency financial support, education, referral services, and therapy programs.
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Our December edition of Hallucinations is the Christmas classic Dial Code Santa Claus aka Deadly Games aka 3615 code Père Noël aka Hide and Freak.
Before Home Alone… there was Dial Code Santa Claus, a French holiday thriller where a tech-savvy kid must defend his mansion from a psychotic man in a Santa suit. What starts as whimsical turns tense, then brutal, then full-on survival horror—all under twinkling lights and fake snow. It’s a fairy tale slasher mixed with a hyperactive 80s toy commercial from hell.
’Tis the season for tinsel, trauma, and booby traps.
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”. 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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Sorry in advance. October’s Hallucinations screening is Frank Henenlotter’s uproarious gross-out horror Frankenhooker!
When Jeffrey Franken’s fiancée meets an unfortunate end via runaway lawnmower, his grief drives him to an entirely reasonable conclusion: build her a new body from the “best parts” of New York’s sex workers. Enter lightning, purple potions, and more bad decisions than humanly possible. It’s cartoon slapstick meets a morally questionable science fair.
If mad science is an art form, this is its neon masterpiece.
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”. 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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The bold, genre-defying horror-Mermaid-musical mashup The Lure is August’s Frida Cinema Members Only screening!
In this playful and confident debut of Polish director Agnieszka Smoczynska — a pair of carnivorous mermaid sisters are drawn ashore in an alternate ’80s Poland to explore the wonders and temptations of life on land. Their tantalizing siren songs and otherworldly aura make them overnight sensations as nightclub singers in the half-glam, half-decrepit fantasy world of Smoczynska’s imagining. In a visceral twist on Hans Christian Andersen’s original Little Mermaid tale, one sister falls for a human, and as the bonds of sisterhood are tested, the lines between love and survival get blurred. A savage coming-of-age fairytale with a catchy new-wave soundtrack, lavishly grimy sets, and outrageous musical numbers, The Lure explores its themes of sexuality, exploitation, and the compromises of adulthood with energy and originality.
Not a member yet? Sign up here: https://thefridacinema.org/memberships/
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The Toxic Avenger is back—bigger, louder, and more radioactive than ever! This 2025 reboot brings the beloved Troma antihero into the modern era with a fresh dose of outrageous gore, dark humor, and socially charged mayhem!
A horrible toxic accident transforms downtrodden janitor Winston Gooze into a new evolution of hero: The Toxic Avenger! Now wielding a glowing mop with super-human strength, he must race against time to save his son and stop a ruthless and power-hungry tyrant bent on harnessing toxic superpowers to strengthen his polluted empire.
Expect wild practical effects, outrageous action, and a satirical edge that’s as sharp as ever.
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On prom night, the world will know her name. Our friends at See It On 16mm are unspooling Brian De Palma’s 1976 masterpiece Carrie!
One of the most iconic and emotionally devastating horror films ever made—Carrie is a coming-of-age tragedy turned psychic revenge nightmare. Based on Stephen King’s debut novel, the film follows shy, repressed teen Carrie White (Sissy Spacek) as she navigates the cruelty of her peers, the torment of her religious zealot mother (a terrifying Piper Laurie), and the terrifying discovery of her own telekinetic powers.
With its split-screen fury, dreamlike slow-motion, and that unforgettable final shock, Carrie is both a high school horror story and a meditation on shame, isolation, and the explosive power of rage. Now…don’t be late. You have a date with Carrie!
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The curtain falls on our Dario Argento restrospective with a scream. For the final act, we present Opera—a film that distills all of the maestro’s obsessions into one glorious, nightmarish aria.
A young opera singer, thrust into the spotlight during a cursed production of Macbeth, finds herself stalked by a sadistic killer who forces her to watch as her friends die in increasingly elaborate set pieces. What follows is Argento’s most technically virtuosic and perversely beautiful film, where horror and high art bleed into one another—sometimes literally.
Featuring infamous sequences involving needles taped beneath the eyes, flocks of vengeful ravens, and a thunderous metal-infused score, Opera is both a love letter to cinema and a howl of rage from a filmmaker pushing the Giallo form to its breaking point. As the camera swoops, the bodies fall, and the aria rises, Opera reminds us: no one stages death like Dario Argento.
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