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

Do 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 back to the next picture show, a movie the week podcast devoted to a classic film in the way it shaped our thoughts in a recent release.

I'm Scott Tobias here again with...

Tosh Robinson. Keith Phipps.

And Genevieve Kosky.

In the first half of this conversation, we talked about Wong-Car-Wise In the Mood for Love, a film about two lonely hearts in early 60s Hong Kong who bond over the shared

realization that their spouses are having an affair with each other.

The look and feel of Wong's work is a strong influence on Barry Jenkins' Moonlight,

especially the final third, which has a dreamy quality despite the acute pain at the center

of it.

Told in three parts, each with different actors playing the same central

character, Moonlight focuses on Shiron, a black boy in the Miami Projects, as he progresses

from pre-adolescence to high school to young adulthood. As a little boy, Shiron is bullied and

teased for reasons he can't quite understand, but he does find a friend and father figure in

Juan, a drug dealer played by Marshala Ali,

and Juan's sympathetic girlfriend, Teresa, played by Janelle Monet.

Throughout Shiron's childhood, he doesn't get much support from his mother Paula, played by

Naomi Harris, who's addicted to the crack that Juan peddles on the street.

Shyron's insight into his own sexuality lags behind the boys who are picking on him,

but as a teenager, he makes a connection with Kevin, a kid who more easily fits in with his

...