- In celebration of TIFF’s ongoing series Imitations of Life: The Films of Rainer Werner Fassbinder, Guy Maddin takes a look at the German master’s predilection for lush color palettes.
- In his latest TCM Diary for Film Comment, Steven Mears examines the work of playwrights George S. Kaufman and Moss Hart and the challenges of dramatizing the writing life.
- The BFI charts the arduous, decades-long process of bringing Abel Gance’s historical epic Napoleon to the big screen.
- “I don’t know if there’s redemption, but there is such a thing as trying to get it right,” says Martin Scorsese in a New York Times feature about his long-awaited film Silence.
- Over at Vulture, Bilge Ebiri explores what happens when contemporary directors resurrect the unfinished projects of deceased masters.
- For RogerEbert.com, Jana Monji digs up the true story at the heart of Ida Lupino’s The Hitch-Hiker, one of the first and only films noirs directed by a woman.
- “Nobody went to war like Louise Brooks did,” writes Pamela Hutchinson in her appreciation of the rebellious flapper icon.
- In a new personal essay, Aaron Orbey explains how horror movies can help us get through troubled times.
- BuzzFeed serves up an extensive survey of shirtless men on-screen and the ever-shifting codes of masculinity they reflect.
- A new book throws the spotlight on the unsung art of Hollywood backdrop painters, who have made invaluable contributions to some of the most memorable moments in film history.
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.