Live for tomorrow. Die today.
The Frida Cinema is excited to partner up with our friends at GKIDS to present All You Need Is Kill, the action-packed new anime film from director Kenichiro Akimoto!
When a massive alien flower known as “Darol” unexpectedly erupts in a deadly event, unleashing monstrous creatures that decimate the population of Japan, Rita is caught in the destruction—and killed. But then she wakes up again. And again. Caught in an endless time loop, Rita must navigate the trauma and repetition of death until she crosses paths with Keiji, a shy young man trapped in the same cycle. Together, they fight to break free from the loop and find meaning in the chaos around them.
All screenings will be presented in the film’s original Japanese language with English subtitles.
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Brazilian director Kleber Mendonça Filho, who has gifted us such films as Aquarius (NYFF54) and Bacurau (NYFF57), returns with the thrillingly unpredictable The Secret Agent.
A dynamic, shape-shifting epic set in Mendonça’s hometown of Recife during the late 1970s, The Secret Agent won Best Director award at Cannes. Wagner Moura was also deservedly honored as Best Actor at the festival for his magnetic performance as a widowed former university researcher whose life has been violently upended by the greed and vengeance of a government bureaucrat.
On the run and living under an alias during the country’s military dictatorship, he tries to escape, while also reconnecting with the young son he had to leave behind. Even this brief description cannot fully prepare the viewer for the zigzagging subplots and delights of Mendonça’s eccentric and affectionate ode to the movies and the Brazil of his youth—and to maintaining individuality amid abuses of power.
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Anytime. Anywhere. Anyone.
We’re heading back to the coldest corner of horror history with some encores of John Carpenter’s The Thing–now in a new 4K restoration!
What begins as a simple rescue mission at a remote Antarctic outpost quickly dissolves into a nightmare of shape-shifting terror. When a mysterious organism infiltrates U.S. research station Outpost 31, it doesn’t attack its victims–it becomes them. With no way out and no way to tell who’s human, the team must confront an enemy capable of wearing any face…including their own.
What can be said about The Thing that hasn’t already been said? This 1982 masterpiece redefined paranoia horror, practical effects (by the incredible Ron Botin and his team), and the art of keeping an audience on the very edge of its seat in only a way that the master of horror, John Carpenter, can do.
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Join us for some cheeky encores of Charade—Stanley Donen’s irresistible mix of romance and suspense that pairs two of Hollywood’s brightest stars at the height of their powers.
After Regina Lampert (Audrey Hepburn) falls for the dashing Peter Joshua (Cary Grant) on a skiing holiday in the French Alps, she discovers upon her return to Paris that her husband has been murdered. Soon, she and Peter are giving chase to three of her late husband’s World War II cronies, Tex (James Coburn), Scobie (George Kennedy) and Gideon (Ned Glass), who are after a quarter of a million dollars the quartet stole while behind enemy lines. But why does Peter keep changing his name?
Often dubbed “the best Hitchcock movie Hitchcock never made,” Charade pairs up Hepburn and Grant along with some witty dialogue and glamorous locations for some of the most flirtatious thrills of all time!
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An annual holiday tradition unlike any other, Bekah’s Cozy Christmas Double is back for a third year! And this time, she’s picked the dynamic duo of The Thin Man and After The Thin Man!
The Thin Man: Retired detective Nick Charles (William Powell) and his quick-witted, glamorous wife Nora (Myrna Loy) return to New York for the holidays, only to get swept into a murder investigation involving a missing inventor, a nervous family, and a trail of clues that only Nick’s reluctant brilliance can untangle. Their martini-fueled banter and impeccable chemistry turn a standard whodunit into one of the era’s most sparkling comedies.
After The Thin Man: Picking up right where the first film ends, Nick and Nora return to San Francisco, where a family dinner quickly spirals into another murder case—this time involving Nora’s unstable cousin, her missing husband, and a lovesick third party played by a young James Stewart. Once again, Nick reluctantly takes the case, and once again Nora dives in with enthusiasm, cocktails in hand.
Seen together, these films showcase the rare magic of screen icons William Powell and Myrna Loy: two actors whose charm mixed so well with soft cynicism. Their style defined a whole era of sophisticated studio comedies and shaped the DNA of the modern mystery-romance, proving that a detective story could be as much about love as it is about clues.
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Natalie Erika James’ haunted house film Relic was near the top of our list of movies to play in 2020, but regretfully never made it to the big screen here. As part of our Lost Films Of Covid series, we are finally able to make good on that idea!
When a daughter and granddaughter return to their family home to care for an aging matriarch, they discover that the real terror isn’t what lurks in the walls—it’s what’s slipping away inside them.
Anchored by powerful performances from Emily Mortimer, Robyn Nevin, and Bella Heathcote, Relic turns decay and dementia into a slow, aching metaphor for inheritance and love. Five years later after its initial release, it stands as one of the most affecting horror films of its era.
Thank you to our friends at Filmbot for their support in presenting this amazing series.
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Our Lost Films Of Covid series kicks off with Pig, one of those rare films that still found light in a time of theaters going dark.
Michael Sarnoski’s elegy of grief and grace follows a reclusive truffle hunter (Nicolas Cage, in one of his most effecting performances) as he searches for his stolen pig. The tagline is simple, but the story is so much more than revenge and spectacle. Returning to the big screen, it reminds us how cinema helps us feel human again.
Whether you’ve seen it since its release or have been waiting to watch it, come see Pig where it belongs–up on the big screen!
Thank you to our friends at Filmbot for their support in presenting this amazing series.
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Celebrate 75 years since the original release of Akira Kurosawa’s 1950 masterpiece Rashomon with a new 2K restoration from Janus Films!
A riveting psychological thriller that investigates the nature of truth and the meaning of justice, Rashomon is widely considered one of the greatest films ever made. Four people give different accounts of a man’s murder and the rape of his wife, which director Akira Kurosawa presents with striking imagery and an ingenious use of flashbacks.
This eloquent masterwork and international sensation revolutionized film language and introduced Japanese cinema—and a commanding new star by the name of Toshiro Mifune—to the Western world.
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From acclaimed director Lee Chang-dong (Poetry, Secret Sunshine) comes Burning, our first Volunteer Of The Month pick for November, thanks to our friend Eugene!
When aimless delivery worker Jong-su (Yoo Ah-in) reconnects with a spirited young woman from his past (Jeon Jong-seo), their brief spark is interrupted by the arrival of Ben (Steven Yeun), her wealthy and enigmatic new friend. What begins as a quiet love triangle unfolds into a haunting mystery of class, longing, and the invisible rage simmering beneath modern life.
Adapted from a Haruki Murakami short story, Burning builds its tension like a fever dream. With its stunning performances an an ending that ignited endless debate, it’s a masterwork of ambiguity and unease.
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Our final Volunteer Of The Month pick was picked by Emma, as she has chosen Orson Welles’s singular adaptation of Franz Kafka’s chilling The Trial!
When bank clerk Josef K. (Anthony Perkins) is arrested on his thirtieth birthday—never told what he’s charged with, never shown his accusers—his attempt at normal life fractures into a surreal labyrinth of law offices, dark corridors, and anonymous verdicts. The law doesn’t need to explain itself, and neither does Welles’ camera—it obsesses over angles, shadows, and the hollowness of bureaucracy.
With its stark black-and-white visuals, towering architecture, and a sense of dread that feels both grand and intimate, The Trial is Welles’ most personal film—a nightmare built not for a moment, but for an eternity.
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