It's very difficult to keep the line between the past and the present.

You believe that someone out of the past can enter and take possession of a living being?

We may be true with the past, but the past is not through with us.

Welcome to the next picture show, a movie of the week podcast devoted to a classic film and how it shaped our thoughts on a recent release.

I'm Keith Phipps here with Tasha Robinson. Scott Tobias.

And behind the boards this week is Genevieve Koski. Hi, Genevieve. Here on the next picture show, we believe that no film exists in a vacuum and that all culture is more interesting in context. So every other week, we get together to talk over a classic film and consider how it relates to a current movie. This week, we have two stories set in competitive corners of the arts, both presented in eye-searing color. Tasha, can you tell us a little bit about our pairing? Sure. We've had a hard time for getting Nicholas Winding Reffin's new movie, The Neon Demon,

so we knew we had to talk about it. To bring you all behind the curtain a bit, we mold quite a few options for pairings, including David Lynch's Mulholland Drive, which is an obvious influence, and Billy Wilder's Sunset Boulevard, which minds a similar vein of Hollywood darkness. But the movie we settled on, in part due to a reader's suggestion, in part because Scott argued for it so vehemently, and in part because we thought it would be a lot of fun, is Dario Arigento's classic 1977 horror movie Susperia, another tale of female rivalry that plays out in lurid colors with more than a little violence. Just a dash of violence. This may be the most not for the faint of heart episode we've done now that I think of it. So consider this a warning. If you're unprepared for discussion that involves buckets of brightly colored blood, a man-eating service animal, necrophilia, cannibalism, and one extremely memorable instance of indigestion, maybe consider playing our Good Dinosaur Toy Story episode again.

It's sure to be less harrowing.

Madame Blank, Susie Banyan, our new student.

Oh, yes.

Excuse me, gentlemen.

Of course, madam.

You're pretty.

Very pretty indeed.

I knew a woman called Banyan years ago in New York.

Carol Banyan. She's my aunt.

Good. She's a marvellous woman, a friend and benefactress of artists everywhere.

I'm delighted to have her niece here.

Well, I offer you our Academy's official welcome in the name of our directors, who unfortunately is not here at the moment. She's traveling abroad.

Thank you, Mr. Chairman.

Albert, please wait for me upstairs.

He's my nephew. I'm very attached to him.

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