- Legendary French cinematographer Raoul Coutard, who created some of the most indelible images in film history, has passed away at the age of ninety-two. The BFI pays tribute to him by republishing an article from the winter 1965–1966 issue of Sight & Sound, in which Coutard recalls collaborating with Jean-Luc Godard.
- The Guardian has also published a tribute to the late cinematographer with a look back on his life in pictures.
- In anticipation of an upcoming John Cassavetes retrospective at the New Beverly Cinema, in Los Angeles, writer Kim Morgan interviews the great Gena Rowlands.
- At the Village Voice, Melissa Anderson examines the work of subversive Dutch filmmaker Paul Verhoeven, who is the subject of a retrospective now playing at the Film Society of Lincoln Center. On the director’s ever-controversial Showgirls, Anderson writes: “What once struck me as wan camp I now appreciate as vulgar brio, the film’s sordid Las Vegas milieu of strip clubs and All About Eve–like deceit and machinations a down-and-dirty dissection of this country’s supply-and-demand soul-sickness.”
- Also at the Voice, Lucian K. Truscott IV reflects on his days in New York in the 1970s, when he lived in the same apartment as Bob Dylan.
- For RogerEbert.com, Simon Abrams interviews Japanese screen legend Tatsuya Nakadai, who recently appeared at the Museum of the Moving Image’s fiftieth-anniversary screening of The Sword of Doom.
- Little White Lies has the scoop on the revival of Abel Gance’s boundary-breaking historical epic Napoleon, which the BFI is bringing to the big screen and home video.
- On Film Comment’s latest podcast, blacklisted screenwriter Walter Bernstein and Cuban novelist Edmundo Desnoes explore how art grapples with political reality.
- At the Metrograph Edition, Nick Pinkerton reflects on the social history captured in Ezra Edelman’s monumental documentary OJ: Made in America.
A Sound for Love and Loss: Bo Harwood on A Woman Under the Influence
With just piano and guitar, longtime Cassavetes collaborator Bo Harwood created a score that highlights the melancholy in the director’s acclaimed domestic drama.