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 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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Slick. Sweaty. Deadly. William Friedkin’s To Live and Die in L.A. turns 40 years old this year—and it still hits like a bullet to the chest.
Coming off the heels of The French Connection and Sorcerer, Friedkin delivered this sun-scorched, Reagan-era crime thriller with the intensity of a punk rock opera. When a reckless Secret Service agent (William Petersen in his breakout role) sets out to take down a ruthless counterfeiter (a cold-blooded Willem Dafoe), the lines between justice and obsession dissolve in a haze of money, betrayal, and blood.
With its iconic Wang Chung synth score, daring car chases, and razor-sharp style, To Live and Die in L.A. is pure ’80s noir heat!
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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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Dario Argento returned to the giallo in 1982 with Tenebrae, his most brutal, self-reflexive, and psychologically unhinged film to date. An American crime novelist arrives in Rome to promote his latest book, only to find that someone is using his fiction as a blueprint for real murders. What follows is a labyrinth of voyeurism, doubles, obsession, and bloodletting—crafted with icy precision and wicked intelligence.
Featuring some of Argento’s most audacious set pieces (including the now-legendary crane shot over a building façade) and a pulsing electronic score by Goblin members under the name Simonetti-Morante-Pignatelli, Tenebrae is a postmodern slasher steeped in chrome, glass, and guilt.
A strangely prophetic film in many ways, Tenebrae asks: when the line between creator and killer vanishes, who’s really holding the knife?
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Step into the flames. There’s beauty in terror. Following Suspiria, Dario Argento plunged even deeper into the occult with Inferno, the second chapter in his “Three Mothers” trilogy—a dreamlike, dread-soaked puzzle box where logic is irrelevant and atmosphere reigns.
When a young woman in New York uncovers an ancient book revealing the existence of a witch living in her apartment building, a cascade of nightmare imagery is unleashed: submerged ballrooms, baroque architecture, alchemical riddles, and firelight glimpses of death.
Less a sequel than a spiritual continuation, Inferno trades plot for poetry, building a haunted world that pulses with color, shadow, and decay. With music by Keith Emerson (of Emerson, Lake & Palmer) and cinematography soaked in blues and reds, this is Argento at his most abstract and operatic.
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The crown jewel of our Black Gloves & Crimson Blood restrospective celebrating the films of Italian horror maestro Dario Argento is his unforgettable masterpiece Deep Red, now celebrating 50 years since its release with a new restoration from our friends at the American Genre Film Archive!
Widely hailed as Dario Argento’s magnum opus, Deep Red (aka Profondo Rosso) is a baroque symphony of murder, madness, and visual excess. When a jazz pianist witnesses a brutal killing, he’s pulled into a spiral of hallucination, artifice, and buried trauma. What follows is Argento at the absolute height of his powers: roving Steadicam shots, feverish close-ups, Grand Guignol gore, and a legendary Goblin score that pulses like a racing heartbeat.
On its 50th anniversary, Deep Red returns to the screen in all its operatic, blood-soaked glory. Whether you’re seeing it for the first time or the fiftieth, this is the film that defines Argento with its formal audaciousness. Don’t say we didn’t warn you!
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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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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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