Metrograph Hosts "Winona Ryder, Analogue Youth" Ten-Film Retrospective

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The series spans iconic roles from Tim Burton's BEETLEJUICE to Martin Scorsese's THE AGE OF INNOCENCE and EDWARD SCISSORHANDS.

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Metrograph presents Winona Ryder , Analogue Youth, beginning October 3 at Metrograph In Theater. 'My life is a darkroom. One. Big. Dark. Room.' Thus spake Winona Ryder in her career-making role in Tim Burton 's Beetlejuice as Lydia Deetz, a widow's weeds–draped teen who looked as though she'd sprouted full-grown from a pile of tear-watered Cure LPs. In films like The Age of Innocence and Little Women, Ryder would prove herself perfectly at home in demure 19th-century crinoline while at the same time she, as much as any single actress, embodied the sullen subcultural energies that, between the rises of goth and grunge, had suddenly flooded the zeitgeist. More than holding her own against Count Dracula, a certain pallid, scissor-fingered young man, and even the force of nature known as Cher, Ryder established herself as the 'It' Girl of an emergent Gen X.

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Winona Ryder , Analogue Youth runs from October 3 to November 6, with select encore screenings to follow. Titles include The Age of Innocence, Beetlejuice, Bram Stoker 's Dracula, Edward Scissorhands, Girl, Interrupted, Heathers, Little Women, Mermaids, Night on Earth, and Reality Bites.

dir. Martin Scorsese , 1993, 139 min, 35mm. One breathtaking composition follows another in Scorsese's adaptation of Edith Wharton 's Pulitzer Prize–winning masterpiece about social mores (and taboos) amongst New York's viperous moneyed classes in late 19th-century New York, brought to life by an all-star lineup of craftspeople including cinematographer Michael Ballhaus, editor Thelma Schoonmaker , production designer Dante Ferretti , and composer Elmer Bernstein . In front of the camera there are Daniel Day-Lewis and Michelle Pfeiffer suffering beautifully as wealthy lawyer Newland Archer and Countess Ellen Olenska, the divorced pariah whom he yearns for, and Winona Ryder as Archer's fiancée and, eventually, wife—outwardly a winsome innocent, but a cunning, cutthroat strategist where affairs of the heart are concerned. It was, Ryder stated during a recent appearance on (of all things) Hot Ones, 'The role of a lifetime.'

dir. Tim Burton , 1988, 92 min, 35mm. With her delivery of the line 'My whole life is a dark room… One. Big. Dark. Room,' Winona Ryder cemented herself as a goth girl heroine for the ages, a brooding teen in widow's weeds relocated by her parents to a creaky country house that happens to be haunted by the unquiet spirits of owners Alec Baldwin and Geena Davis , egged on in mischief-making by Michael Keaton 's Ghost with the Most, whose own hidden motives are rather more malevolent.

dir. Francis Ford Coppola , 1992, 128 min, 35mm. Coppola at his most boldly baroque, Gary Oldman wearing cinema's most iconic updo, a puppyish young Keanu Reeves trying to make his way back to fiancée Winona Ryder , and a plummy Anthony Hopkins as vampire hunter Abraham Van Helsing—it's all here in this opulent production which returns to the original Stoker text and draws out the piercing sexual ache and romantic longing implicit therein. After dropping out of The Godfather Part III, Ryder mended fences with Coppola by bringing James V. Hart's screenplay to the director's attention, and gave him a dynamic performance that ranges from demure sweetness to terrifying intensity.

dir. Tim Burton , 1990, 105 min, DCP. On the heels of his Batman bonanza, Burton offered up this modern-day fable of the title's blade-fingered mechanical man ( Johnny Depp ), adopted into the suburban home of a family whose daughter ( Winona Ryder ) becomes the object of his gradually-requited affections. Innocent Edward inadvertently brings trouble to the neighborhood and, finally, the gift of snow on Christmas, in a film that includes the final performance by Vincent Price , and keen insight into pubescent mortification.

dir. James Mangold, 1999, 127 min, 35mm. Based on a 1993 memoir of the same name by Susanna Kaysen, Mangold's powerhouse picture sets its scene at a New England psychiatric hospital c. 1967 where Winona Ryder (in the Kaysen role; also a producer on the film) lands after suffering a nervous breakdown. Among the committed at Claymoore are a hall-of-fame lineup of '90s female acting talent, including self-harmer Brittany Murphy , schizophrenic burn victim Elisabeth Moss and, in a star-making turn, Angelina Jolie as sociopath agitator Lisa Rowe. Ryder's is not the flashiest role here, but she holds the film together with her quiet, alert intensity, offering a springboard for her co-stars to dive off into the deep end.

dir. Michael Lehmann, 1988, 103 min, DCP. 'Dear Diary: My teen-angst bulls now has a body count.' A caustic rejoinder to John Hughes 's '80s Brat Pack pictures, Lehmann's savage suburban satire brought out the sociopathic side of Christian Slater 's too-cool outlaw persona, casting him as J.D., the motorcycle-riding new arrival at Ohio's Westerburg High School who recruits Winona Ryder 's at-first pliable Veronica Chandler into his increasingly unhinged plans to humble their class's ruling clique of three terrible popular girls named Heather. Clearly having a ball with Daniel Waters 's imminently quotable, coal-black screenplay, Ryder gives more than a few line-readings for the ages here; just try to keep 'What's your damage?' out of your vocabulary after viewing.

dir. Gillian Armstrong, 1994, 115 min, 4K DCP. Winona Ryder would receive an Academy Award nomination for Best Actress for her role as the headstrong, literary minded Jo March in Armstrong's perfectly enchanting adaptation of Louisa May Alcott 's 1868 novel of the same name, about the travails of the March sisters of Concord, Massachusetts, and their various suitors. Made with sweet-spirited good humor and exacting attention to period detail, with Trini Alvarado , Samantha Mathis , Kirsten Dunst , and Claire Danes rounding out the March clan, and Eric Stoltz , Gabriel Byrne , and Christian Bale among the men drawn to the glow exuded by the March homestead.

dir. Richard Benjamin , 1990, 111 min, DCP. It's 1963, and different-drummer single mother Cher has decided to move from Oklahoma to smalltown Massachusetts, uprooting her two daughters, nine-year-old Kate and Catholicism-obsessed 15-year-old Rachel ( Winona Ryder , who provides the narration). What follows includes JFK assassination trauma, a pregnancy scare, mother-daughter sexual competition, and one miraculous rescue, with devastating dynamic duo Cher and Ryder pushing one another to histrionic heights.

dir. Jim Jarmusch , 1991, 129 min, 35mm. Jarmusch's career-long fascination with at-home-in-the-world wanderers finds elegant expression in this anthology piece with a Tom Waits soundtrack and gorgeous nocturnal cinematography by Frederick Elmes , set simultaneously in five different cabs in five different cities around the world. In Los Angeles casting agent Gena Rowlands eyes tomboyish driver Winona Ryder as possible young talent (though she just wants to be a mechanic), Isaach De Bankolé drives a mysterious young blind woman through Paris, and the backseat operates everywhere as an analyst's sofa, loneliness and urban anomie proving to know no national bounds.

dir. Ben Stiller , 1994, 99 min, 35mm. Arguably the most consciously 'Gen X' movie ever made, Stiller's shambolically charming directorial debut stars Ryder as Lelaina Pierce, a university valedictorian whose postgraduate malaise threatens to become a full-fledged identity crisis when she's faced with the choice between two very different eligible suitors: corporate climber Michael (Stiller) and slack motherfer Troy ( Ethan Hawke ), the latter a staple of the Houston, Texas open mic circuit. Featuring a pip of a soundtrack (Juliana Hatfield Three! Lisa Loeb and Nine Stories!), career-best supporting work from Janeane Garofalo , and cameo appearances by Lemonheads frontman Evan Dando and Ryder's then-beau, Soul Asylum's Dave Pirner.

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/bwwtv/article/Photos-WINONA-RYDER-ANALOGUE-YOUTH-to-Open-at-Metrograph-In-Theater-20260924)._