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 the week podcast devoted to a classic film and how it shaped our thoughts at a recent release.

I'm Scott Tobias here with Keith Phipps and...

Tosh Robinson.

Genevieve Kosky is behind the boards tonight, hiding from Darren Aronovsky metaphors, but she'll be back next time.

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. We usually express our gratitude to Delmark Records for allowing us to record

at their home base, Riverside Studios, but this week, we can't seem to find our way out. All we need

to do is just open the door to the studio and leave, but something is keeping us pinned to these microphones. Tasha, what could it be? I actually have no idea, but the excuse that I'm going to give is that we're recording a podcast and we can't leave until we finish recording because that's how podcasting works. Oh, I see. If you're feeling a little confined, though, this week's pairing might explain it. In Darren Aronovsky's new film, Mother, Jennifer Lawrence is stuck in a creepy oldest state in the middle of nowhere, while a series of bizarre, inexplicable events drive her to the brink of madness. Based on the trailer and the poster, we originally thought a pairing with Roman Polanski's repulsion or Rosemary's baby might be the obvious choice. But after seeing the movie, we were surprised to discover a premise and tone that's closer to the surreal black comedy of Louis Bunyell. So we've decided to pair it with Bunyell's 1962 classic The Exterminating Angel about a fancy dinner party where the guests can't leave, and they gradually descend into madness and savagery. How long till that happens to us, Scott? Well, I've already torn up the floorboards and started a fire, Tasha. But while we still have some grip on our sanity, we should use this time to debate two provocative, controversial films. First up, we're going to talk about the Exterminating Angel and how Louis Bunyelles, deadpan, satireire and surrealism reveals disturbing insight into human nature.

Then, later in the week, we'll bring in Mother, Darren Aronofsky's allegorical horror film about God, art, and the perpetual cycle of creation and death.

But for now, tuck your chicken feathers and rooster feet into your handbag.

It's going to be a bumpy night.

Thank you. your feet into your handbag. It's going to be a bumpy night. Me going to perdonar, if alter a little, the order natural of the menu.

We'll start with a guiseo maltez, that, according to the island,

it's a sylbe as order. It's a bit of the it, gout, meal, almedras, and with a

sauce very speciada. Early in Louis-Bal is the dinner party wake up in the same room together, unable to leave,

a woman compares her disorientation to her experience on a train derailment.

She emerged from the incident unscathed, but in her words, quote,

a third-class car full of village folk was squashed like an accordion. She goes on to admit that,

quote, the misery of those wretches didn't move me, and a friend gives an understanding nod.

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