Metrograph

“By the third or fourth stab, the difference between murder as self-defense and murder for self-gain becomes murkier. How much does it matter that a man who yearns to kill suddenly must?” —Kelley Dong on THE WOMAN IN THE WINDOW, playing on 35mm @Metrograph, from Nov 7.

Just in time for Halloween! Bruce Bennett on 1957’s The Curse of Frankenstein, the film that would “forever identify Hammer as the Seventh Art’s preeminent postwar purveyors of Gothic horror and its director, Terence Fisher, as the premiere stylist of same.”

From the Journal archive, Emerson Goo @emgyw on the transcendent intimacy of Sho Miyake’s Two Seasons, Two Strangers, which returns to Metrograph as part of our spotlight series on Miyake, Unspoken Gestures, opening November 7.

AUTUMN SONATA (Ingmar Bergman, 1978).

NEWS FROM HOME (Chantal Akerman, 1976).

THE TROUBLE WITH HARRY is a rare foray into comedy (albeit of the black variety) for Hitchcock, with Shirley MacLaine, Mildred Natwick, and Jerry “The Beaver” Mathers perfectly embodying a bevy of smalltown American “types.” This Halloween weekend. metrograph.com/film/99990041…

“I saved Latin! What did you ever do?"

“Its queerness is arguably incidental but also deeply consequential to the film’s plot, not unlike Barbra Streisand’s 1983 period drama YENTL.” — Caden Mark Gardner, on the rediscovery of Virgina (1991), a lost film tackling the complexities of gender expression in the Balkans.

AN AUTUMN AFTERNOON (Ozu, 1962).

Man and machine feel the urge to merge in Tsukamoto’s utterly indescribable midnight movie staple, TETSUO: THE IRON MAN. 🎟️ Playing Saturday night at 11pm.