The Boston Underground Film Festival continues through the weekend at the Brattle Theatre with more cutting-edge cinematic lunacy than you can shake a bucket of popcorn at. Friday’s lineup begins with the festival’s annual “Dunwich Horrors,” New England-grown horror shorts. Next are the East Coast premiere of Curry Barker’s “Obsession” (2026), a macabre riff on the old “Love Potion No. 9” story, and the New England premiere of Brooke H. Cellars’ Waters-esque camp epic “Cramps! A Period Piece” (2025). Cellars herself will be there for a Q&A. Saturday starts with more short films, “Animation Disorientation” and “Die Laughing” (made up of animated and comedic shorts, respectively). The New England premiere of David Kittredge’s “Boorman and the Devil” (2025), a documentary about the notorious 1977 flop “The Exorcist II: The Heretic” (itself screening at midnight Friday and Saturday at the Coolidge Corner Theatre).
Saturday night features Bill Moseley, beloved by cult movie aficionados for his unhinged, darkly comic performances of (usually murderous) characters. Moseley will introduce a 40th anniversary screening of “The Texas Chainsaw Massacre Part 2” (1986), in which he plays Leatherface’s demented brother Chop-Top. He’s a similarly whacked-out serial killer in Rob Zombie’s “The Devil’s Rejects” (2005). In real life, Moseley is an affable raconteur, so consider these back-to-back Q&As appointment viewing.
The festival’s final day, Sunday, starts again with shorts. “Death, Love, and Road Trips” (seemingly a catchall for films which don’t fit the existing themes) and “New England Esoterica” (a newly minted block for non-spooky local films). Those are followed by the New England premieres of Avalon Fast’s feminist folk horror “Camp” (2025) and Natalie Erika James’ queasy weight-loss nightmare “Saccharine” (2026), and the East Coast premiere of Kenji Tanigaki’s Hong Kong actioner “The Furious” (2026). The festivities end Sunday night at The Comedy Studio, with the awards ceremony, open to all BUFF badgeholders. Expect a raucous ending to Cambridge’s wildest film festival.
BUFF isn’t the only film festival in town this weekend. On Friday and Saturday, the Irish Film Festival Boston returns to the Somerville Theatre with a trio of thoughtful new films from the Emerald Isle. Playing Friday and Saturday is Ruán Magan’s Irish language murder mystery “Báite” (2025), which screens with the Oscar-nominated animated short “Retirement Plan” (2024). Sunday brings the strange-but-true documentary “Beat the Lotto” (2025), with director Ross Whitaker in attendance, as well as Brendan Canty’s tender drama “Christy” (2025). It’s a showcase for a world cinema which doesn’t always get its due, and a perfect pairing with a night at the Burren.
The Harvard Film Archive continues its Complete Stanley Kubrick retrospective Sunday with a film he didn’t make, the western “One-Eyed Jacks” (1961). The filmmaker left the project two weeks before production began to focus on helming “Lolita” (1962), turning directorial duties over to star Marlon Brando. (Kubrick cast the eccentric actor Timothy Carey, who had worked with the director on “The Killing” [1955] and “Paths of Glory” [1957]; Carey proved such a nuisance on set that Brando allegedly stabbed him with a pencil). The screenplay is by a not-yet-famous Sam Peckinpah. Monday, meanwhile, brings Kubrick’s masterpiece “A Clockwork Orange” (1971), one of the most iconic and controversial films of the 1970s; that one’s already sold out, but unsold tickets may be made available close to showtime.
For something a little lighter, on Monday and Tuesday, the Brattle presents a just-for-fun double feature of “Paddington” (2014) and “Paddington 2” (2018). Based on the cherished children’s books by Michael Bond, the “Paddington” films have become unlikely critical darlings and cult favorites thanks to their winningly silly sense of humor and a visual palette worthy of Wes Anderson. Ben Whishaw voices the lovable bear, who travels from the jungles of Brazil to the busy streets of London to live with the kindly Mr. and Mrs. Brown (Hugh Bonneville and Sally Hawkins). The films are a delightful mix of slapstick comedy and earnest warmth — particularly the second, which adds Hugh Grant as a villainously hammy stage actor. Together, they make for a perfectly cozy night at the movies (though viewers will have to bring their own marmalade sandwiches).
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