The weather is heating up and SO ARE WE. We have so many things happening this month, we hope you can us as we continue to bring independent film to Charlotte.

As always tickets and showtimes are available at independentpicturehouse.org, so be sure to grab some tickets before they sell out. Many of our repertory screenings have been huge this last month.

Coming soon to the theater is a bold and eclectic mix of new releases, revivals, and special screenings. The Shrouds, directed by David Cronenberg, is a deeply personal sci-fi mystery exploring grief and digital immortality through a mysterious invention that allows people to monitor their deceased loved ones. It’s a cerebral, haunting meditation on loss from one of cinema’s master provocateurs. The Wedding Banquet reimagines Ang Lee’s queer classic for a contemporary audience, blending romantic tension, cultural pressure, and sharp humor as a gay Taiwanese man fakes a marriage to satisfy his traditional parents. The Ballad of Wallis Island tells a whimsical story of reinvention and solitude, set on a surreal island where one exile’s strange new life becomes something beautiful and bizarre—equal parts fairytale and fable. Secret Mall Apartment recounts the true story of artists who secretly lived inside a shopping mall, capturing a fascinating blend of rebellion, creativity, and survival in the forgotten corners of American consumerism.

Pride & Prejudice (2005) returns to the screen in all its romantic, windswept glory—Joe Wright’s masterful direction and Keira Knightley’s iconic performance make this adaptation a visual and emotional feast. A Nice Indian Boy is a fresh, heartfelt romantic comedy about an Indian-American man who brings home an unexpected boyfriend—his white, adopted-by-Indians theater co-star. It’s a funny, family-centered exploration of culture, love, and identity. When Fall Is Coming unfolds over the course of a single day, tracing a web of quiet revelations and longings as lives intersect in a small town. This soft-spoken drama leans into atmosphere and emotion, perfect for fans of slow-burn storytelling.

In The Surfer, Nicolas Cage stars as a man locked in a battle of pride and madness over a stretch of Australian beach. It’s a tense, psychological showdown full of surreal touches and simmering rage—Cage at his most unhinged and magnetic. The Trouble with Jessica is a sharply written British black comedy about a woman who drops dead at a dinner party, forcing her upper-class hosts to make increasingly desperate decisions. Think The Party meets Death at a Funeral, with biting wit and escalating chaos. Jane Austen Wrecked My Life is a breezy satire about literary obsession, following a woman who blames the romantic standards of Austen’s novels for the state of her love life. Smart, self-aware, and perfect for book club types looking to laugh (and maybe cry a little).

Wolf Children (2012) returns to melt hearts all over again with its stunning animation and emotional storytelling—following a mother raising her half-human, half-wolf children in secret after the death of their father. It's tender, magical, and deeply resonant for anyone who's ever felt like an outsider. Bob Trevino Likes It stars Barbie Ferreira in a soulful indie about a lonely woman who forms a surprising digital friendship with her namesake's father—only to find the line between coincidence and connection isn’t so clear. It's warm, weird, and wholly original.

As part of our David Lynch series, we’re screening Twin Peaks: Fire Walk with Me (1992), a terrifying and emotionally raw prequel that adds depth and horror to the mythos of Laura Palmer; Lost Highway (1997), a hypnotic puzzle of identity, guilt, and parallel realities set to a thunderous industrial soundtrack; Mulholland Drive (2001), Lynch’s Hollywood dream-turned-nightmare that shifts genre and logic with every frame; and The Elephant Man (1980), his most tender film—a black-and-white historical drama about comion, cruelty, and humanity that still devastates decades later.

In remembrance of Val Kilmer, we’ll screen Batman Forever (1995), his sleek, stylish take on Bruce Wayne in a pop-art Gotham—and Heat (1995), Michael Mann’s brooding masterpiece, where Kilmer plays a doomed criminal in the shadows of giants. These two showcase the range of an actor who left a unique stamp on blockbuster and auteur cinema alike.

From Hong Kong cinema, we’re proud to show Pedicab Driver (1989), Sammo Hung’s genre-blending gem of martial arts, romance, and slapstick comedy. A cult favorite with jaw-dropping action and surprising heart, it’s a rare chance to see it on the big screen.

To celebrate the release of Wes Anderson’s The Phoenician Scheme, we’re presenting three of his beloved films: Rushmore (1998), a rebellious schoolboy saga that defined Anderson’s aesthetic and tone; The Royal Tenenbaums (2001), the bittersweet family drama that walks the line between deadpan and devastating; and Fantastic Mr. Fox (2009), his first foray into animation—a whimsical, witty, and wonderfully tactile adaptation of the Roald Dahl book.

Our Summer of ’85 series begins with Clue (1985), the multiple-ending mystery comedy that became a cult classic thanks to its campy performances and airtight pacing; Ran (1985), Akira Kurosawa’s sprawling, color-drenched samurai epic based on King Lear; and Weird Science (1985), a teenage fever dream of '80s wish fulfillment, technology, and absurdity that could only have come from John Hughes.

In our Miloš Forman retrospective, we have Amadeus (1984), a sweeping, operatic depiction of Mozart’s genius and Salieri’s envy. We're also showing Some Like It Hot (1959) in remembrance of Jack Lemmon—a gender-bending screwball classic that breaks all of the rules, miles ahead of it's time. One of Billy Wilder's best.

Finally, we’re excited to host the first-ever theatrical run of the director’s cut of Captain America (1990), restored and reassembled by Albert Pyun. This is a wild, rough-around-the-edges version of a Marvel hero you’ve never seen quite like this before—a cult curio turned essential midnight cinema.