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• POSSESSION Director's Cut/4K Restoration (Andrzej Żuławski, France/West Germany 1991)

  • When
    6 Oct 2026
  •  
    7:00 PM - 9:00 PM
  • Location
    The Queen Theatre
  • Spaces left
    27

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  POSSESSION (Andrzej Żuławski, France/West Germany 1991). Director's cut/4K restoration.

  
  

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  Banned in the United Kingdom and delayed for two years (and severely cut) before being distributed in the United States, Andrzej Żuławski’s highly choreographed nightmare of a marriage unraveling is an experience unlike any other film. Professional spy Mark (Sam Neill) returns to his West Berlin home to find his wife Anna (Isabelle Adjani, in a role that earned her Best Actress at Cannes) insistent on a divorce. As Anna’s frenzied behavior becomes ever more alarming, Mark discovers a truth about her far more sinister than his wildest suspicions. With its pulsating score, visceral imagery, and some of the most grueling performances ever captured on screen, Possession, restored and uncut, is cinematic delirium at its most intoxicating.

  Reviews

  “Andrzej Żuławski’s 1981 masterpiece is like no other film before or after it, a swirling, hallucinatory portrait of a marriage in shambles and a wife, husband, and lover ensnared in a stew of passions that lead only to Armageddon. There’s a frightening majesty to its lunacy.”

  —Nick Schager, Esquire

  "Isabelle Adjani, crowned best actress at Cannes, gives the performance of a lifetime — a veritable aria of hysteria — as an increasingly distraught, unfaithful wife."

  —J. Hoberman, LA Weekly
  

  
  

  “There are plenty of movies which seem to have been made by madmen. Possession may be the only film in existence which is itself mad: unpredictable, horrific, its moments of terrifying lucidity only serving to highlight the staggering derangement at its core.”

  —Tom Huddleston, Time Out

  
  

  "Possession’s bewildering complexities and unnerving overtures render it a singular work, crazier even than Lynch and Cronenberg.”

  —John Serba, Decider

  "A primal scream of psychosexual horror."

  —Kris Moyse, Starburst

  "Remarkable... Amazingly gripping and erotic."

  —Christopher Potter, The Ann Arbor News

  "Cunning camera work, large doses of ambiguity and Adjani's frighteningly mesmerizing performance make this one of the most bizarre, stylish and fascinating of horror films.

  —Alex O. Williams, Daily Utah Chronicle

  
  

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• BOORMAN AND THE DEVIL (David Kittredge, US 2026)

  • When
    20 Oct 2026
  •  
    7:00 PM - 9:00 PM
  • Location
    The Queen
  • Spaces left
    51

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  How do you follow one of the most successful horror movies ever made? If you’re John Boorman, you spend a fortune making something so strange, ambitious, and spectacularly ill-advised that audiences laugh at its premiere and critics compete to find new ways to destroy it. Boorman and the Devil tells the extraordinary story of the making of Exorcist II: The Heretic—the notorious 1977 sequel that nearly derailed Boorman’s career and became shorthand for the disastrous Hollywood sequel. But was it really that bad? Through remarkable behind-the-scenes material and reflections on Boorman’s wildly unconventional vision, the documentary makes the case for looking again at a film that Martin Scorsese thought surpassed the original and John Simon called “the stupidest major movie ever made.” Funny, fascinating, and unexpectedly moving, Boorman and the Devil, with interviews with the film’s cast and creators, admirers and stunned onlookers, is both a first-rate tale of filmmaking gone spectacularly wrong and a celebration of the kind of audacious cinematic failure Hollywood rarely risks anymore.

  Reviews:

  
  

  A funny, surprising, revealing and altogether fascinating document, bursting with crazy details about gonzo 1970s filmmaking.”

  —Kyle Smith, Wall Street Journal

  
  

  “A fascinating, funny and fully riveting film about the making of one of history’s most notorious critical and commercial failures.”

  —David Hughes, Time Out

  
  

  “An essential film for would-be critics, and, well, for anyone with a real passion for the cinematic art.”

  —Jennie Kermode, Eye for Film

  
  

  “Thoroughly enjoyable.”

  —Peter Bradshaw, The Guardian

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• THE STUFF (Larry Cohen, US 1985)

  • When
    22 Oct 2026
  •  
    8:00 PM - 10:00 PM
  • Location
    The 101
  • Spaces left
    50

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  The Stuff (Larry Cohen, US 1985)

  
  

  What’s white, gooey, delicious—and determined to eat you? In Larry Cohen’s gloriously deranged The Stuff (1985), America goes crazy for a mysterious new dessert that bubbles up out of the ground, tastes terrific, and has just one tiny drawback: the more you eat, the more it eats you. Part Invasion of the Body Snatchers, part attack on Reagan-era consumer culture, and part movie that seems to have been conceived at 3 a.m. over several beers, The Stuff gives us killer yogurt, exploding heads, evil advertising executives, a kung-fu chocolate-chip-cookie mogul, and Michael Moriarty delivering one of the strangest leading-man performances of the 1980s. Is it horror? Comedy? Satire? A feature-length warning against frozen yogurt? Yes. Come to The 101, buy a beer, lose your inhibitions, and remember the film’s immortal advice: ENOUGH IS NEVER ENOUGH.

  Reviews:

  
  

  “Chaotic, surreal, and very, very subversive.”

  —Time Out

  
  

  “A nifty horror movie that’s clever, satirical, and funny.”

  —Gannett News Service

  
  

  “What’s not to like? The film enjoys a larky sense of innocence, some hideous gaping mouths full of a curdling, parasitic menace, and a fey performance by Michael Moriarty.”

  —Variety

  Free and un-ticketed.

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• EXORCIST II: THE HERETIC (John Boorman, US 1977)

  • When
    27 Oct 2026
  •  
    7:00 PM - 10:00 PM
  • Location
    The Kimbell
  • Spaces left
    49

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  EXORCIST II: THE HERETIC  

  (John Boorman, US 1977, 118 min.)

  

  
  

  Few sequels have crashed and burned quite as spectacularly—or as fascinatingly—as John Boorman’s Exorcist II: The Heretic. Made as the follow-up to one of the most successful horror films ever, Boorman’s film largely abandons the original’s grim realism for something altogether stranger: a delirious mixture of science fiction, mysticism, African mythology, psychic communion, tap dancing, locusts, and Richard Burton portentously delivering some of the most wonderfully solemn dialogue of his career. (Why say "evil" when you can say "eeev-el"?) Audiences and critics were baffled, and The Heretic quickly acquired a reputation as one of Hollywood’s legendary disasters. Yet its hypnotic images, extraordinary Ennio Morricone score, and almost reckless ambition have earned it a devoted cult following. Is it a misunderstood masterpiece? An unmitigated catastrophe? Or that rarest of cinematic pleasures—a genuine disasterpiece? Whatever the verdict, there is nothing else quite like it.

  A zoom Q&A with David Kittredge, director of the new documentary about the making of Exorcist II, Boorman and the Devil, will take place immediately after our screening.

  Reviews

  "There's enough visual magic in it for a dozen good movies... A horror fairy tale gone wild."

  —Pauline Kael, The New Yorker

  
  

  “There is a very strong probability that Exorcist II is the stupidest major movie ever made.”

  —John Simon, New York Magazine

   

  “I like the first Exorcist, because of the Catholic guilt I have, and because it scared the hell out of me; but The Heretic surpasses it.

  —Martin Scorsese, Film Comment

  
  

  “The only time you’re likely to hide your head will be in shame for watching it.”

  —Jack Lewis, Daily Mirror

   

  “The sequel is as much of a masterpiece as the first movie is.”

  —Park Chan-wook, Director of Oldboy and No Other Choice

  "Staggering in its ineptitude."

  —Owen Gleiberman, Variety

  
  

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