666 Fridays – Palace Central

Event Information

Palace Central proudly presents 666 FRIDAYS, curated by Static Vision, where you’ll find the most devious, deranged and demonic horror and genre flicks this side of Transylvania, every Friday at 8:30pm from Jan 11 – Feb 22 in our 66-seat theatrette of terror, Cinema 6(66).  This season we’re proud to be showcasing the amazing work of women in horror, commencing with three films that feature incredible performances from their female leads, followed by our February Women In Horror Month screenings, showcasing four significant contemporary horror films directed by women.

Tickets are shockingly affordable at $10.00 for Palace Movie Club Members ($12.00 Concession/$15.00 General), and don’t miss out on our exclusive 666 FRIDAYS Beer Hall special, with schooners of all tap beers going for just $6.00!

Dates, Locations & Tickets


THE EXORCIST (1973) (R18+)

Friday, Jan 11 | 8:30pm
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It Follows (2014) (MA15+)

Friday, Jan 18| 8:30pm
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The Guest (2014) (MA15+)

Friday, Nov 16 | 8:30pm
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The Blair Witch Project (1999) (M)

Friday, Jan 25 | 8:30pm
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The Babadook (2014) (M)

Friday, Feb 1 | 8:30pm
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Raw (2016) (R18+)

Friday, Feb 8 | 8:30pm
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A Girl Walks Home Alone At Night (2014) (MA15+)

Friday, Feb 15 | 8:30pm
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Jennifer's Body (2009) (MA15+)

Friday, Feb 22 | 8:30pm
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We launch on Jan 11 with one of the most beloved horror films of the ‘70s, William Friedkin’s blasphemous blockbuster hit, THE EXORCIST (1973). Attracting extravagant levels of controversy upon release, Friedkin’s tale of demonic possession is led by two powerhouse performances from the legendary Ellen Burstyn as mother Chris and Linda Blair as daughter Regan MacNeil, who call in the assistance of a priest when Regan becomes possessed by an unknown force.

Things get even more supernatural in our second week, with the sublimely eerie contemporary classic, IT FOLLOWS (2014) on Jan 18. Starring modern day scream queen Maika Monroe, the film is an unnerving spin on coming of age movie tropes about adolescent socio-sexual anxieties, as youthful and carefree Jay (Monroe) becomes haunted by slow, inescapable spectres of death.

No introduction is needed for our final January film THE BLAIR WITCH PROJECT (1999), back to the big screen for the first time since its initial theatrical run – 20 years to the day since its world premiere at the Sundance Film Festival on Jan 25! Driven by an unforgettable performance from Heather Donahue, Daniel Myrick and Eduardo Sánchez’s found footage, witch-hunting shocker is a remarkable low-budget gem and a masterclass on working within cinematic limitations to create something truly terrifying.

On Feb 1 our Women In Horror Month screenings of female directed horror commences with the internationally revered Australian dread-fest, THE BABADOOK (2014). Jennifer Kent’s magnificent feature length debut is an exquisitely dark and nuanced take on grief, following a single mother, plagued by the responsibility of raising a difficult child alone after the sudden death of her husband, as she is haunted by a monstrous presence.

Direct from France, delivering a delectably erotic spin on the body horror genre, RAW (2016) is jam-packed with deliciously grotesque scares and plays Feb 8. Julia Ducournau’s feature, which follows a teenage girl as she moves out of home, starts a university degree and develops a craving for human flesh, is a striking debut; an unnerving look at familial relationships, the crafting of identity and burgeoning sexuality.

On Feb 15 we present a Persian-language US/Iranian co-production, Ana Lily Amirpour’s debut feature, A GIRL WALKS HOME ALONE AT NIGHT (2014), has been billed as the world’s first Iranian vampire Western. Soaked in gorgeous monochromatic cinematography, the film – which thrust Amirpour firmly into the global collective indie-film consciousness – is drenched in feminist undertones, bucking gender stereotypes throughout its tale of a seedy Iranian ghost-town and the lonesome vampire that protects its streets.


Closing out the season on Feb 22 is Karyn Kusama’s critically misunderstood masterpiece, JENNIFER’S BODY (2009), presented as it was originally conceived in its full, director’s cut form for the first time on Australian screens. The film, which has seen a much-deserved critical and cultural re-evaluation in recent years, follows the fracturing relationship between two childhood best friends, played by Amanda Seyfried and Megan Fox in stereotype breaking roles, as the latter develops an insatiable taste for the flesh of young men (both literally and metaphorically).

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