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She shared an apartment with a colleague, Sister Mary Russell, and on November 7, 1969, she left to buy an engagement present for her sister and did not return.

At one point, White asks May about a series of files that Maskell buried in a local cemetery, which May and her team dug up.

To any regular person, a priest buying a cemetery plot to bury files would seem extremely suspicious, and those files important.

Instead, it will make you feel a haunting numbness, a triumph of its empathetic approach to a complicated tale.

, in spite of how it’s been marketed by Netflix, isn’t really about the unsolved 1969 murder of Sister Cathy Cesnik; instead, the seven-episode series finds its deeply affecting narrative in the events that took place before and after her death.

What filmmaker Ryan White does with Cesnik was killed, not who killed her.

He traces a web of relationships and a system of abuse that Cesnik was tethered to at Archbishop Keough by interviewing her former students, the people who were part of her life, and the authorities who seem to have dropped the ball in investigating her death.taps into the same charged verve as that earlier series, channeling its subjects’ frustration, desire for vindication, and anger while digging into the decades-old murder of a nun and its possible cover-up by the Catholic a different beast from its predecessor, one that doesn’t prompt its audience to don a tinfoil hat or leave them teetering on a cliffhanger.But is how White got state and law enforcement officials to speak so candidly — and on camera — about Cesnik’s murder and the abuse at Archbishop Keough.The officials White interviews on camera are strangely comfortable, seemingly unfazed about the heinous allegations of sex abuse that went on at the school.The women become two of the documentary’s heroes, as they attempt to get to the bottom of Cesnik’s murder.