Friday Flicks: ‘Ghost Stories’, ‘Godard Mon Amour’, ‘Little Pink House’
Weekend movie plans need a quick refresh when the calendar turns. Ghost Stories still delivers classic chills, Godard Mon Amour keeps its playful look at French cinema, and Little Pink House continues to spark conversation about property rights. The rest of the slate includes Kodachrome and The Devil and Father Amorth, each holding steady on their respective platforms. Here is where the titles stand now and why they remain worth a watch.
Ghost Stories (IFC Midnight)
Professor Phillip Goodman has built a career exposing fake psychics on television. His routine unravels when a forgotten file lands on his desk with three unsolved hauntings. The cases lead him into abandoned buildings, late-night interviews, and encounters that test every skeptical instinct. Martin Freeman, Andy Nyman, Alex Lawther, and Paul Whitehouse carry the segments, each performer shifting between doubt and dread. The United States run opened April 20, 2018. Recent viewers still single out the film for its clean atmosphere and last-minute reversals.
Godard Mon Amour (Cohen Media Group)
Michel Hazanavicius turns the camera on Jean-Luc Godard during the late 1960s. Louis Garrel plays the director as he juggles radical politics and domestic life with actress Anne Wiazemsky, portrayed by Stacy Martin. The script draws directly from Wiazemsky’s memoir and stays inside the 1967 window when protests and film shoots overlapped. The picture keeps its light touch on both the romance and the era’s intellectual noise. It now streams on Prime Video and Tubi, with Apple TV digital rental also available.
The Devil and Father Amorth (The Orchard)
William Friedkin returned to exorcism territory decades after The Exorcist. This time the camera records an actual session conducted by Father Gabriele Amorth in 2016. The subject shows sudden behavioral shifts that medical tests could not explain. Friedkin keeps the footage raw and minimal, letting the contrast between his earlier fiction and this record speak for itself. The documentary premiered at Venice in 2017 and reached American theaters the following year.
Kodachrome (Netflix)
Jason Sudeikis plays a music journalist who learns his father, played by Ed Harris, is dying. The two men, joined by a nurse portrayed by Elizabeth Olsen, drive across the country with four rolls of discontinued Kodachrome film. Their goal is to reach the last lab that can still process the stock before it closes. The story hinges on the photographs that may or may not capture the family’s remaining time together. As a Netflix original the film has stayed on the service without interruption.
Little Pink House (Dada Films)
Catherine Keener stars as Susette Kelo, a nurse who buys a small cottage in New London, Connecticut, after leaving a difficult marriage. When the city moves to seize the block for a Pfizer development, Kelo and her neighbors resist. Giacomo Baessato appears as the young lawyer who takes the case to the Supreme Court. Jeanne Tripplehorn and Callum Keith Rennie round out the cast. The film screened in the Supreme Court Historical Society film series in 2023, keeping the Kelo decision in public view.
Where to Watch These Films Now
Ghost Stories sits on digital storefronts and Apple TV. Godard Mon Amour streams on Prime Video, Tubi, and Apple TV. Kodachrome remains a Netflix title with no announced removal date. Little Pink House and The Devil and Father Amorth appear mainly through on-demand rental windows. Checking each platform before heading out saves time when plans shift.
The Enduring Appeal of Horror Anthologies
Ghost Stories fits inside a long line of portmanteau horror films that trade on short, self-contained scares. Recent releases such as the V/H/S Halloween installment scheduled for 2025 show the format still draws new directors. Critics continue to note Ghost Stories for its restrained camerawork and classical staging rather than jump cuts or heavy effects. The structure lets each performer carry one mood without overlap, a choice that keeps the tension steady across the three stories.
Eminent Domain in Popular Culture
Little Pink House dramatizes the 2005 Kelo v. City of New London ruling that expanded government power to transfer private property for economic development. The decision still appears in legal briefs and state ballot measures. The film’s 2023 screening at the Supreme Court Historical Society placed the story back in front of an audience familiar with the case. Property-rights advocates continue to reference the ruling when discussing limits on local authority.
Michel Hazanavicius and the French New Wave on Screen
Godard Mon Amour narrows its focus to the year when Jean-Luc Godard’s marriage to Anne Wiazemsky collided with the May 1968 unrest. Hazanavicius keeps the production design tight to 1967 interiors and street protests, avoiding later decades of the director’s career. The approach mirrors earlier New Wave biopics that treat one decisive period rather than a full life story. Viewers interested in that slice of French cinema history find the film functions as both romance and time capsule.
William Friedkin's Real-Life Horror Turn
The Devil and Father Amorth marks Friedkin’s return to the subject that defined much of his public image. Instead of staging scenes, the director films an actual exorcism performed in 2016. The footage runs without added score or dramatic inserts, letting the recorded event stand beside the 1973 fiction. The result sits between documentary record and personal reflection on how close the earlier film came to lived experience.
These titles have moved from festival circuits and limited runs to steady streaming and rental shelves. Ghost Stories keeps its anthology structure intact for new viewers, Godard Mon Amour holds its snapshot of 1960s Paris, and Little Pink House still tracks the Kelo case through the courts. Kodachrome and The Devil and Father Amorth round out the group with their own distinct tones. Each one rewards a fresh look now that the original release window has closed.
