Peter Bogdanovich's THE LAST PICTURE SHOW (1972)

Before those Friday Nights got any Lights, 

Ere ever Dazéd teens were too Confused, 

Jeff Bridges left poor Cybill hangin'. Nights

In black and white stretched long with naught to do

But get in sexy trouble, it would seem. 

It's hard to say which story breaks the heart

The most -- the ones depicted on the screen?

Or what occurred behind the cameras. Part

Of each perhaps. Meanwhile, each dewy face, 

And each hard-bitten, steals the viewer's breath.

There's something timeless, too, about that place, 

North Texas in the 50s, near its death,

And full of gossip, jealousy and pain

That feels just like my own town on the plain.

Robert Eggers' THE VVITCH : A NEW ENGLAND FOLK TALE (2015)

Bad parenting, ahoy! You didn't think

That only happens now, did you? A dad

Need not be violent, and needn't drink

To wreck a fam'ly's life. Then, too, a bad

Mom helps, especially when a big black goat,

With Chekov's giant horns, is also there. 

In truest ay-two-four style, you can vote:

Is this for "real" or did they all just share

Some ergot-madness? Too, it's well-conveyed

How ev'rything must stink, as well as why

(Yes, fetch the water downstream from the maid

Who's washing goat-shit from some clothes, oh aye!).

I'd like to see this done in black and white.

Such ambiguity might up the fright...

Tomas Gutierrez Alea's MEMORIES OF UNDERDEVELOPMENT (1968)

A Cuban Humbert Humbert's just the start, 

Our man there in Havana likes to peep

But not participate or help; his heart

Is less developed than his nation. Keep

Away from guys like this: though to the eyes

He's so appealing, privileged and cool,

He's odious. While all his fam'ly flies

Off to America lest Castro's rule

Come after them, he stays, but it's not brave. 

He's rid of all who might expect of him

An effort while he's this side of the grave. 

His frantic nation lets him stay that dim 

And keep his comforts even when, you bet

He goes and bothers quite the wrong nymphet.