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In the mid-1970s, Scorsese befriended the great British filmmaker Michael Powell, who likewise was frozen out of the business after 1960’s controversial “Peeping Tom.”

Nowhere is her style — prosy description punctuated by the numinous — more evident than in this work, collected in her book, “Peeping Tom Tom Girl.”

Nevertheless, they retain a whiff of the transgressive — the Peeping Tom quality that makes Hitchcock’s “Rear Window” creepy.

He looked at films like “Persona,” “Peeping Tom” and “Sapphire,” many of which embraced a vibrant color palette.

One side claimed harassment by loud music after complaining about netting put up to protect the outdoor sculpture; the other side alleged invasion of privacy by a neighbor they accused of being a Peeping Tom.