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Friday Night Weird 
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Friday Night Weird is a weekly cult film series at the Boedecker Theater of the Dairy Arts Center. We program films of all genres, new and old, so long as they are visually striking, thematically subversive, under seen, under appreciated or just plain WEIRD.


Raising the Dead: FNW’s Favorite Underrated Horror (Oct 12 - Nov 9)

The Fall and Halloween season are the perfect time to revisit your favorite horror films - maybe it’s The Shining, something from Wes Craven, a Stephen King adaptation, or a good old fashioned golden age monster movie - but this year FNW invites you to add a new film to your personal horror pantheon. Each week a member of our FNW programming committee selects their favorite overlooked and underappreciated horror flick to bring back from the graveyard of obscurity - the modern version of the “staff selections” shelf at the video store.
 
Gothic
October 19 
In honor of the 200th anniversary of Mary Shelley’s Frankenstein! On a warm summer night in 1816 at the Swiss lakeside chateau of Lord Byron, the poet and his guests -- Percy Bysshe Shelley; his fiancée, Mary Wollstonecraft; her half-sister, Claire; and his private doctor John Polidori -- spend the evening sharing ghost stories while under the influence of experimental compounds provided by the doctor. As the night goes on, reality and the horrific tales begin to commingle. Introduction with Bryan Bonner.
(Ken Russell, 1986, UK, 1:27, R)
 
Dead Snow 
October 26
A party of eight Norwegian medical students travel to a remote Arctic mountain for an Easter weekend filled with skiing and relaxation. After one of their group disappears while on a solo cross-country hike, a mysterious local resident tells the remaining visitors that, in the waning days of World War II, a battalion of Nazi soldiers disappeared into the nearby woods after the residents turned on them, and that their zombified corpses remain on the prowl in the area. Introduction with Shay Wescott.
(Tommy Wirkola, 2009, Norway, 1:31, NR)
 
Cat People (1982)
November 2
A young woman's sexual awakening brings horror when she discovers her urges transform her into a monstrous black leopard. Introduction with Kelly Ryan.
(Paul Schrader, 1982, USA, 1:58, R)
 
Let the Right One In 
November 9
When Oskar , a sensitive, bullied 12-year-old boy living with his mother in suburban Sweden, meets his new neighbor, the mysterious and moody Eli, they strike up a friendship. Eventually, Eli shares her dark, macabre secret with Oskar, revealing her connection to a string of bloody local murders. Introduction with Jack Hanley.
(Tomas Alfredson, 2008, Sweden, 1:55, R)

 

Yellow Paperbacks, Black Gloves & Red Herrings: Giallo and Beyond (Nov 16 - Dec 7)

This sub-genre of horror is derived from Italian films from the 70s, usually based on crime fiction or psychological thrillers, often with an erotic or exploitation element and named for yellow paperback crime novels of the same genre. By no means an exhaustive exploration of the genre, FNW will use four weeks to look at the roots and popularization of giallo in film, its influence in the American wave of psychosexual thrillers, and the current wave of modern genre film that owes so much of its style to pulpy Italian mysteries.
 
Blood and Black Lace
November 16
Generally considered one of the earliest and most influential of all gialli films, this highly stylized gem includes the oft-copied trope of scantilly clad models and a masked killer. (Mario Bava, 1964, Italy, 1:29, NR)
 
Deep Red
November 23
This is Argento at his peak. After witnessing a brutal murder, a pianist is unsuspectingly pulled into a complex web of mystery. (Dario Argento, 1975, Italy, 2:04, R)
 
Dressed to Kill
November 30
The genre gets Americanized, with Angie Dickenson as the sexually disatisfied housewife who cheats and gets killed, and then a high-class call girl has to solve the crime before becoming the next victim. (Brian De Palma, 1980, USA, 1:42, R)
 
Let the Corpses Tan
December 7
Taking inspiration not only from the genre, but from 70s the Mooricone film scores which were borrowed, this film goes well beyond giallo to transgressively artsy. A heist goes sideways on an island with a motley range of characters. (Hélène Cattet & Bruno Forzani, 2017, France, 1:32, NR)

 
 

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