As the wife who pushes her man toward murder for the sake of obtaining raw power, Lady Macbeth is the richest femme fatale character in Shakespeare’s canon, so Polish master Andrzej Wajda twists her story into his only film of noir proximity, Sibirska Ledi Magbet (US: Siberian Lady Macbeth). A dream-like mashup of gruesome murders, marital spite, and human debasement, Wajda channels the medieval sensibilities of Ingmar Bergman and Andrei Tarkovsky to create a world where it seems almost anything could happen, none of it good (“I’m encircled by a sea of blood and there’s no way out”). A handsome drifter serf named Sergei (Liuba Tadic) obtains employment on a farm owned by Olivera Markovic (Katerina Izmajlowa) and her husband, whom she persuades Sergei to murder so they can marry and inherit the assets; unfortunately, their freedom will come with even deadlier costs. Beautiful shots through windows and from underneath staircases soften the blow of the perversity on display: a fertility ritual with a horse, feeding a human corpse to hogs, murdering a child in his bed. The final 20 minutes or so comprise an oddly riveting sequence in which the convicted criminals are forced to walk a caravan toward their Siberian prison.