True crime is everywhere at the moment. In New Zealand its peak is outstanding feature writing, like The Wireless' sad, savage report into the kidnappings at Dome Valley last week. In Australia it's podcasts like Phoebe's Fall and Bowraville. The US, with more crime and more money, is turning episodic documentary investigations into the amongst the best strand of contemporary TV.
Netflix has followed its 2016 smash Making a Murderer with The Keepers, a reinvestigation of a 1969 cold case which might be the darkest yet. If nothing else it makes the case (again) that the Catholic Church was a giant global criminal organisation, operating in plain sight and according to its own appalling rules.
The story it tells is largely that of Sister Cathy Cesnik, a young nun teaching at Keough High School in Baltimore (the same city and investigating police department which would later give us The Wire. For a city about the size of Wellington, it really overdelivers on murder). One day she goes out shopping and never returns, her body eventually found with its skull caved in some months and miles distant.
![Nearly 50 years after her death, Sister Cathy Cesnik's former students are still investigating her murder.](https://www.nzherald.co.nz/resizer/v2/HCVV2ZXU75EG3RKDDZXNVW7MOQ.jpg?auth=6f0a10012223e8754798fed09f490a019a326414acca8e4e21ed5c645e7add27&width=16&height=9&quality=70&smart=true)
The narrative cleaves into two, setting the scene and following the initial police investigation, such as it was, while also introducing a trio of amateur sleuths still chasing the story today. The former is necessarily light on footage and information, to an extent, with repeated pans across the same black and white images as we recount bare facts of life and death.