Beetlejuice (Michael Keaton) is a trickster and mischievous ghost who has been on hiatus since 1988. Still haunted by Beetlejuice, Lydia's (Winona Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Jenna Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, Beetlejuice's name could be invoked, unleashing their distinctive brand of mayhem. (dir. Tim Burton, US, 2024, min.)

Raised in Rhinebeck, Nathan Silver is a hometown boy who has built an impressive, micro-budget filmography. His latest may turn out to be his mainstream breakthrough. Amiable and gently comic on the surface, his films often exist a degree or two removed from reality. In his latest effort. Jason Schwartzman plays an upstate New York cantor who’s lost his voice because he’s mired in grief. One evening, he steps out into the middle of a darkened street and lies down, hoping to die. He regains consciousness in the almost-angelic presence of Carla O’Connor (Carol Kane), who was his music teacher back in elementary school.This could easily become the stuff of high-concept shenanigans, but it goes in surprising, emotional directions. (dir. Nathan Silver, US, 2024, 111 min.)

54 years before designer John Storyk designed The Mark screening room at Upstate Films’ Orpheum Theater, he was a recent architectural school grad and was enlisted by Jimi Hendrix to work on Electric Lady Studios. It was the first such commercial enterprise owned by a recording artist. And This new doc explores the stop-start year spent designing and building it, making for a rich oral history containing tantalizing asides. Electric Lady Studios proposed that a studio have the ambience and aesthetics of a club, a place where you could entertain as well as work — an idea that Hendrix welcomed and ran with. Electric Lady was the corrective to the institutional blankness of commercial studios. “Jimi’s spirit is still there,” says Eddie Kramer, the recording engineer who was a key partner in Hendrix’s sonic innovation and his studio venture, and a central figure in the film. (dir. John McDermott, 2024, USA, 90 min.)

Sam is a wise-beyond-her-years 17-year-old with a solid head on her shoulders and an innate ability to notice and observe those around her. She’s set to go on a three-day hike in the Catskills with her fiftysomething type-A dad, Chris (James Le Gros), and his snarky lifelong friend. Good One is a movie that keeps all its combustion tightly coiled and contained. From the get, new director India Donaldson has a tremendous command of pace and silence. (dir. India Donaldson, US, 2024, 89 min.) “It’s a killer debut for both Donaldson and Collias, and it will be exciting to see what both can do with the momentum a picture like this can provide. — Consequence

A funny, incendiary show about aging in a female body in an age of anxiety. In 70-minutes, Kate Valentine wields a rich arsenal of weapons: razor-sharp commentary, video, dance and music – and even commedia dell’arte character work. A Woman of a Certain Rage marks her joyous return to the stage – it’s also Valentine’s first full-length solo show. She sharply captures this moment as Gen X enters menopause and refuses to be quiet about it.

Phillip Lopate fell hard for the movies as an adolescent. As he matured into an acclaimed critic and essayist, his infatuation deepened into a lifelong passion. My Affair with Art House Cinema presents Lopate’s selected essays and reviews from the last quarter century, inviting readers to experience films he found exhilarating, tantalizing, and beguiling—and sometimes disappointing or frustrating—through his keen eyes. With this live program at Upstate’s Mark screening room, Lopate pays tribute to some of his favorites, interspersing clips from films by Kenji Mizoguchi, Ernst Lubitsch, Yasujiro Ozu, Carl Theodor Dreyer and John Cassavettes. Lopate is a passionate advocate for not only particular films and directors but also the joys and value of a filmgoing culture.

Directed by David Litchfield, this film captured a moment when Paul McCartney and Wings had found and defined their signature sound. Filmed over four days at Abbey Road Studios in August 1974, the film provides an insight into the inner workings of the band as they work and play together in the studio. Including performances of tracks from Wings masterpiece Band on the Run (released in 1973), intimate footage of the band hanging out in the studio, combined with audio interview snippets, the film also includes previously unreleased full footage of a solo acoustic performance by Paul called The Backyard Sessions. In addition to the film, this screening event includes an introduction by Paul McCartney recorded exclusively for movie theatre audiences as well as unseen Polaroids of the band.

Anchored by the iconic performances of James Dean, Natalie Wood and Sal Mineo, this is Ray’s best-known work. Shooting for the first time in CinemaScope, Ray creates a complex mise-en-scene in which virtually every shot vibrates with an intensity of feeling and color, most famously in Dean’s red jacket, a symbol of his emotional volatility and a visual link to Joan Crawford’s costume in Johnny Guitar. “You’re tearin’ me apart!” wails Dean’s Jim Stark to his apron-clad dad Jim Backus, and a generation of frustrated Eisenhower-era teens chimed in. Ray’s fable of adolescent angst has in its celebrated planetarium scene, the elevation of teen torment to the cosmic plane. (dir. Nicholas Ray, USA, 1955, 111 min.)

Divine G (Colman Domingo), imprisoned at Sing Sing for a crime he didn’t commit, finds purpose by acting in a theatre group with other incarcerated men. When a wary outsider joins the group, the men decide to stage their first original comedy, in this stirring true story of resilience, humanity, and the transformative power of art, starring an unforgettable ensemble cast of formerly incarcerated actors.

Divine G (Colman Domingo), imprisoned at Sing Sing for a crime he didn’t commit, finds purpose by acting in a theatre group with other incarcerated men. When a wary outsider joins the group, the men decide to stage their first original comedy, in this stirring true story of resilience, humanity, and the transformative power of art, starring an unforgettable ensemble cast of formerly incarcerated actors.

Playing out in six, ingeniously scrambled chapters, this headlong thriller transforms a simple cat-and-mouse premise into an electric, surprise-filled ride. It features two breakout performances by Willa Fitzgerald and Kyle Gallner. (dir. J.T. Mollner, US, 2024, 96 min.) “An excruciating chase film, a terrifying puzzle-box whodunit, and a testament to romanticizing even the darkest cinema in glowing 35mm, Strange Darling is an outright triumph.” —Indiewire “Strange Darling is a magic trick, showing you its cards up front and leaving your mind to fill in the blanks while it subtly performs a sleight of hand.”—Collider

One week before his new film Megalopolis opens at the Orpheum, we present Francis Ford Coppola’s Watergate-era thriller starring Gene Hackman as a surveillance expert who discovers that the tricks of the trade have been used against him. Thanks to Walter Murch’s keen, intuitive sound montage and Hackman’s clammy, subtle performance, the film captures a more elusive fear—that of losing the power to respond to the evidence of one’s own senses. (dir. Francis Ford Coppola, USA, 1974, 113 min.) “Remarkably ambitious and serious – a Hitchcockian thriller, a first-rate psychological portrait of a distinctive modern villain, and a bitter attack on American business values… all in one movie.” —New York

Cameron Crowe’s first film, 'Heartbreakers Beach Party', aired only once at 2 am on MTV in 1983. Earlier this year long-thought lost 16mm reels of the film were located, along with 20 minutes of additional, never-before-seen footage from the Petty Archive. This time capsule follows Tom Petty and the Heartbreakers in 1982 and ’83 as they finished recording, promoted, and toured in support of their album Long After Dark. (dir. Cameron Crowe, Doug Dowdle, Phil Savenick, US, 1983, 90 min.)

“Within You Without You is a deep, illuminating meditation on the artistry of George Harrison – from his first Beatles composition to his final solo work,” says Holly George-Warren, who will be in conversation with Rogovoy, interspersed by video and audio clips. Plus live covers by Robert Burke-Warren. “Rogovoy deploys deep scholarship, insightful analysis, sharp prose, and a knowledgeable ear to make a powerful and ultimately persuasive case that George Harrison was as important to the music of the Beatles as the Beatles were to the history of popular music.” —author Michael Chabon