Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen’s legendary Häxan uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages suffered the same hysteria as turn-of-the-twentieth-century psychiatric patients. But the film itself is far from serious—instead, it’s a witches’ brew of the scary, gross, and darkly humorous.
Seattle, 1984. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins
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