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 through with the past, but the past is not through with us.

Welcome back to The Next Picture Show, a movie of the week podcast devoted to a classic film and the way it's shaped our thoughts on a recent release.

I'm Tasha Robinson, here again with Scott Tobias.

Keith Phillips.

Genevieve Kosky is absent from this pairing in this timeline, but in many other timelines, she did join us for this episode.

So if you want to hear what she thought about this pairing, wait, did I already say all that

in this timeline?

I thought this was the timeline where I saved that gag for this half of the podcast.

Oh, damn, multiverses are so confusing.

On last week's episode, we talked about Christoph Kislauski's Blind Chance, one of his early

transition points from realistic films about politics

to heady conceptual films about life philosophy. In that film, we see three radically different

lives play out for one young Polish man in the 1970s, each depending on whether he successfully

catches a given train on a given day. The characters in the film that we're bringing in this

week, Daniel Shinerd and Daniel Kwan's, Everything Everywhere All at Once, have lived out a lot more lives in the branching realities

of infinite timelines. The protagonist, Evelyn, played by martial arts master Michelle Yeo,

only learns that's true when someone reaches out to her to save the multiverse, which

has been threatened by a monstrous evil. Given the thousand domestic problems she's already facing, with her lonely husband,

her disaffected daughter, her judgmental father, the looming IRS audit of the laundromat they run,

and her general discontent with life, being asked to save every possible universe is just another

...