Cinestudio Fright Nights

No scary movie is as scary as when it is seen in a dark theater on a larger than life screen! Cinestudio invites the entire movie-loving community to join us ( if you dare) at the rare screening of the 4K 50^th Anniversary print of the ultimate British cult favorite. After receiving an anonymous letter about a missing 12-year-old girl, devout Christian and dedicated cop Neil Howie (Woodward) travels to one of those remote, austerely beautiful Scottish islands to investigate. But the islanders are far from friendly, caring little for his badge or religion — for the imperious laird of the isle Lord Summerisle (Lee) and his fanatical followers worship only the pagan deities of the past — and those gods demand a sacrifice. Fearing the very worst, Howie is forced to do battle with the islanders’ bewildering misdirection. Can he save her – and himself – from becoming a human sacrifice to the merciless whims of Celtic deities, long-denied their place in the firmament? “A movie that’ll burn its way into your unconscious and give you nightmares for many years to come.” – Jamie Russell, BBC.com

The influential first film by Dario Argento inspired the 1960s and 70s Italian genre known as giallo, spawning hundreds of mystery/thrillers sharing essential elements. In a strange city, a man or woman witnesses a murder – but can not identify the killer. Solving the mystery is paramount, woven together with psychological horror, eroticism, and stylized scenes of violence. It opens as an American writer named Tony, who is visiting Rome watches helplessly as a murderer in a black cape brutally attacks a woman. She survives and assists Tony and his girlfriend Julie as they begin a dangerous, suspenseful search for the serial killer through the dark alleyways of Rome. The best of its kind, and how could it not be with daring cinematography by three-time Academy Award winner Vittorio Storaro (Apocalypse Now) and the moody, alluring soundtrack by Ennio Morricone (The Good, the Bad and the Ugly). “This dazzling debut is downright scary.” – Kevin Turan, Los Angeles.

“Their crime was against Nature. Nature found them guilty.” –tagline of The Long Weekend. In hopes of saving their shaky marriage, Peter and Nancy go to an idyllic beach in the North of Australia, populated only by creatures of the woods, sky, and the sea. On the way there, we witness their casual disregard for the pristine natural surroundings, as they accidentally spark a small fire, and hit a kangaroo with their car. Their inability to come together and their environmentally toxic behavior (breaking an eagle egg, shooting birds, strewing garbage everywhere) only ramps up the suspense. When Nature does fight back, it’s not with monsters, but ordinary creatures: a pissed-off badger, a mournful dugong (an over-hunted Australian sea mammal), and even Cricket, their formerly docile dog. Don’t miss this overlooked classic of 70s’ Ozploitation, terrifyingly even more relevant today.

Cinestudio’s Fright Night invites you to enter the world of Japan’s Toho Studios. We’re not talking about their legitimate masterpieces (Seven Samurai, Ikiru, or even Gojira (aka Godzilla). For true thrills, Vampire Doll is the perfect jumping off place. The first of a trilogy about blood-sucking dwellers of the dark would inspire a new generation of horror, from Ju-On: The Grudge to Audition and Ringu. Vampire Doll begins when a young man goes missing after visiting his girlfriend’s isolated country home. His sister and her boyfriend trace him to the creepy mansion, but their curiosity turns to pure terror when they uncover a macabre family history. Best of all is the intense performance of Kayo Matsuo as the Doll, whose may just have a good reason for her unquenchable lust for blood We cannot guarantee that nightmares will not trouble your sleep.

“The biggest holy grail of all folk horror films.”
— Nathaniel Thompson, MONDO DIGITAL

Cinestudio Fright Nights are becoming the hot place to spend Friday nights for friends, couples, and fans of horror films rarely seen on the silver screen. Before The Blair Witch Project or The Witch, there was Eyes of Fire, a surreal thriller set in the 1750 New England wilderness. A shady preacher (Will) is nearly lynched for his liaisons with a married woman (Eloise) and Leah, who may or may not be a witch. When the preacher and his odd crew of followers look for a new place to start a settlement, the Shawnee warn them not to go into a valley haunted by Indigenous spirits. Ignoring their advice, the group claims the valley, but are soon terrified by pagan visions and highly unusual deaths. In a pitched battle between the spirits of the past and the settlers, can Leah’s magical witchery rescue the innocent and send the demons (human or nor) into the inferno of Hell? “ambitious, atmospheric indie feature is an offbeat treat for horror obscurantists!” Dennis Harvey, San Francisco Bay Guardian.

“I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life (or world) that are difficult to face…” – David Cronenberg.

It’s a family affair, as twins Sam and Max Eggers join their brother Robert Eggers (The Witch, The Lighthouse) in the family business of scaring filmgoers into sleepless nights! Everything goes to hell for Belinda, a black pregnant anthropology professor played by Brandy Norwood, after her Daughters-of-the-Confederacy mother-in-law (Kathryn Hunter) moves in. First it’s the racial and religious microaggressions, then it’s rearranging the furniture, but when the diabolical guest tries to get her claws on the child, Belinda declares family warfare.

Are you ready for Freddy? Out of all the Bollywood horror films that were inspired by the worldwide phenomenon of Wes Craven’s A NIGHTMARE ON ELM STREET, MAHAKAAL is the most brazenly outrageous. The film—directed by Shyam Ramsay & Tulsi Ramsay of the legendary Ramsay family—finds Anita and her friends battling Shakaal, a horrifically disfigured dream-stalker with a razor-clawed glove. A mind-altering cocktail of elements from A NIGHTMARE ON ELM STREET 1-5, DAY OF THE DEAD, and THE TERMINATOR, MAHAKAAL is awash with Argento-esque neon, elaborate effects, and joyous musical segments. Newly restored and never before available in North American theaters!

New 4K restoration from Severin Films.

Francesco Dellamorte (Rupert Everett) is the groundskeeper at a cemetery where the dead just won’t stay dead—and it’s up to him to deal with those who come back to life with a hunger for human flesh. But Dellamorte’s job soon becomes much more complicated when he falls for an enigmatic young woman (Anna Falchi) whose husband has recently died. Based on the novel by Tiziano Sclavi (DYLAN DOG) and directed by Michele Soavi (THE CHURCH), CEMETERY MAN is a late masterpiece of Italian horror: quirky, gory, romantic, and unlike anything else.

The first international production shot in Moscow following the fall of the Soviet Union, MUTE WITNESS is the greatest horror-thriller that Brian De Palma never made. Billy Hughes (Marina Sudina) is a mute special effects artist working on a low budget American slasher that’s being filmed in Russia. While working after hours, Billy stumbles upon the filming of a snuff film . . . and it only gets wilder from there. MUTE WITNESS is an unpredictable and nerve-shredding experience that has never felt more intense thanks to a stunning 4K restoration from Arrow Films.

Clapet (Jean-Claude Dreyfus) is a butcher who owns a run-down apartment building in post-apocalyptic France. The building is in constant need of a handyman, because Clapet routinely butchers them and sells them as food. The latest in the long ling of disposable workers is Louison (Dominique Pinon), a former circus clown desperate for work and lodging. But this time Clapet’s plan hits a snag when his young daughter (Marie-Laure Dougnac) falls head over heels for the lovable Louison.

“Obsession…Of the act of filmmaking. An obsession that can tilt into madness. For me, Peeping Tom is the purest expression of that dangerous state of mind.” – Martin Scorsese

One of the most controversial films of the 1960s explores the darkest corner of the “Male Gaze,” taking the Hitchcockian voyeurism to its limit. In what is now considered to be a masterpiece – and the first slasher film – Peeping Tom dares us to sympathize a sensitive film studio focus puller Mark Lewis (Carl Boehm) who is battling an unspeakable violent obsession.  While Lewis moonlights as a shy private photographer of attractive women, he is also creating his own terrifying “documentary” of the women’s final expressions. The film also starts the great Moira Shearer, who starred in Powell’s ballet film The Red Shoes, and Anna Massey, who tries to find the humanity in this damaged killer’s soul. Director Powell’s career was derailed by the critical backlash to the film, though he would live to see The Guardian rate Peeping Tom the 10th Best Horror Film of all time and director Martin Scorsese sponsor a new highly praised print for the New York Film Festival in 1979.

In this taut, twisty psychological thriller, estranged friends Carla (Natalie Dormer) and Heather (Naomie Harris) reunite over tea, only to unveil a dangerous and deceptive plot that will irrevocably alter their lives. As the two navigate a web of secrets and hidden agendas, the true nature of their meeting slowly comes to light, revealing a shocking and perilous reality that neither could have anticipated.

The Wasp showcases the immense talent of its lead actresses, with Dormer and Harris delivering captivating, nuanced performances that anchor the film’s intense narrative. The cleverly plotted story, adapted from a play, unfolds primarily within the confines of a single room, creating an intimate and claustrophobic atmosphere that amplifies the mounting tension. The expertly crafted twists and turns keep viewers on the edge of their seats, making The Wasp a must-see for fans of gripping, character-driven thrillers.––Jarod Neece

The bodies pile up as sensitive film studio focus puller Mark Lewis (Carl Boehm) moonlights as a private photographer of scantily-clad women, while obsessively working on his own “documentary” of the women’s dying expressions. Director Powell’s career was effectively destroyed by the critical backlash to the film.