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 podcast devoted to a classic film on the way it shaped our thoughts on a recent release.

I'm Scott Tobias here again with Tosha Robinson and Genevieve Koski.

We're also joined by our special guest, David Chen. Hello again, David.

Hey, I think you can actually describe me as next picture show patron, David Chen. Just again, David. Hey, I think you can actually describe me as next picture show patron,

David Chen. Just on the Patreon page. I'm going to describe you as best guest ever, David Chen.

Got to subscribe to that Patreon, guys. You know, got to get those subscribers there. My kids can't dine on

page views, as I like to say. So Patriot, any little bit helps.

Yes.

So last week we talked about Throne of Blood, Akira Kurosawa's free adaptation of Shakespeare's Macbeth.

And now this week we have the new film, The Tragedy of Macbeth, perhaps the most scrupulous by the letter adaptation of the play ever put on screen.

This comes as something of a surprise since its director, Joel Cohen, had no problem

turning Homer's The Odyssey into a musical comedy set in rural Mississippi during the Depression.

But maybe his brother, Ethan, is the irreverent one.

For the first time, Cohen is operating alone for the tragedy of

Macbeth, and he's cast his wife and longtime collaborator, Francis McDormand, as Lady Macbeth.

Meanwhile, Cohen finally seizes the opportunity to work with Denzel Washington, who makes for a

particularly robust Lord Macbeth. We'll discuss the finer details of Cohen's staging of the play,

but all of the expected elements are present. The Weird Sisters, or in this case, weird

...