<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Ellen Burstyn - vo.rs</title><link>https://vo.rs/tags/ellen-burstyn/</link><description>Latest from the Ellen Burstyn desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Tue, 08 Aug 2023 08:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/ellen-burstyn/" rel="self" type="application/rss+xml"/><item><title>The Exorcist: Friedkin's Faith-and-Filth Machine</title><link>https://vo.rs/screen/the-exorcist-friedkins-faith-and-filth-machine/</link><description>&lt;p&gt;The strangest thing about &lt;em&gt;The Exorcist&lt;/em&gt;, half a century after it opened on Boxing Day 1973 and sent people fainting and vomiting into cinema aisles, is how patient it is. The reputation is all bile and blasphemy, the head-spin and the crucifix, the green arc across the bedroom. Watch it again and most of its running time is a slow, grey, unglamorous procedural: a mother trying to find out what is wrong with her daughter, and a doctor after doctor after specialist failing to tell her. William Friedkin shot a demon film as though he were shooting a documentary about the American health system, and that decision is the whole trick.&lt;/p&gt;</description><pubDate>Tue, 08 Aug 2023 08:00:00 +0000</pubDate></item></channel></rss>