MIDSOMMAR (DIRECTOR'S CUT)
2019, A24, 171 min, Dir: Ari Aster

Dani (Florence Pugh) and Christian (Jack Reynor) are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing. From the visionary mind of Ari Aster comes a dread-soaked cinematic fairytale where a world of darkness unfolds in broad daylight.


MISS FISHER & THE CRYPT OF TEARS
2020, Variance Films, 101 min, Dir: Tony Tilse

Glamorous lady detective Phryne Fisher (Essie Davis, THE BABADOOK) returns in a cinematic sequel to the wildly popular TV series. In 1929 Jerusalem, Miss Fisher's rescue of a young Bedouin girl leads her on a globe-trotting adventure to uncover priceless treasures, wartime secrets and an ancient tomb bearing a terrible curse, with the help of handsome detective Jack Robinson (Nathan Page).


MURDER À LA MOD
1968, DistribPix, 80 min, USA, Dir: Brian De Palma

Rarely seen after its initial release in a single New York theater, Brian De Palma’s feature debut is a stylish murder mystery set in the adult-film business in 1960s New York City. Exhibiting many of the same styles and thematic preoccupations that the auteur would soon be famous for, the film is a thrilling homage to great genre films before it, equal parts Powell’s PEEPING TOM, Kubrick’s THE KILLING and Hitchcock’s PSYCHO. The story begins when seedy filmmaker Christopher (Jared Martin) tries to trick his girlfriend, aspiring actress Karen (Margo Norton), into starring in one of his partner’s skin flicks. Obstructing his plans is the bizarre prankster Otto (William Finley), who stalks the building where they’re shooting. In Hitchcockian fashion, Christopher’s luck runs out when a series of seemingly unconnected events leads to a shocking murder scene.


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