The spirit of La llorona escapes La Malinche (María Luisa Zea)’s body in Ramon Peon’s La llorona (1933)
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A Terence Stamp double-bill
Dorothy Arzner’s Merrily We Go to Hell (1932): Criterion Blu-ray review
John Paskievich’s Special Ed debuts at Hot Docs
Room 237: an obsessive search for meaning in Stanley Kubrick’s The Shining
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