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 through 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's shaped our thoughts on a recent release.

I'm Tasha Robinson here with...

Keith Phipps.

Genevieve Kosky.

Scott Tobias.

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're slathering on

the blue eye shadow, practicing our most brilliant smiles, and looking straight into the

camera as we explain our grand ambitions to get out of this small town trap and into the big leagues.

Scott, you've just about gotten your triple axle down. So why don't you get out there and represent your country by telling us what's on the docket this week? Okay, but only if you

can promise this podcasting gig is going to lead to attention from prominent Hollywood producers

because otherwise you're holding me back and then who knows what I might have to do to you.

Oh. This week's films are both mockumentaries about ambitious women with big dreams and big entitlement,

both trying to get ahead in spite of judgmental systems that seem to exist to keep them down.

Both of them are used to slapping on big, fake smiles to please an audience,

but both of them end up as true crime story tabloid fodder once the men in their lives try to settle the problems with violence.

But there are some crucial differences.

And Gus Van Sant's bleak, stylish 1995 satire to die for,

...