- With Alain Resnais’s Muriel, or The Time of Return now streaming on FilmStruck, Leo Robson explores how this radical meditation on memory “invites broader questions about what happens when we return to a movie: Is rewatching a compliment or a betrayal, a tribute or a travesty?”
- Also at the New Yorker is Tad Friend’s profile of Mike Mills, a maximalist whose work seeks to “reveal the entirety of his characters’ lives and minds.” His latest film, 20th Century Women, is up for two Golden Globes this Sunday.
- Another filmmaker who won acclaim last year, The Love Witch director Anna Biller, shared a blog post about her time working at a Japanese hostess bar in Hawaii, a harrowing experience she compares to Mikio Naruse’s When a Woman Ascends the Stairs and Kenji Mizoguchi’s Street of Shame.
- The cover story of Film Comment’s latest issue is an extensive interview with Martin Scorsese, in which the director discusses his latest film, Silence, and the inspiration he continually draws from auteurs like Ozu, Bresson, and Hitchcock.
- Revisit Scorsese’s work through ten memorable songs featured in his films, including the Ronettes’ “Be My Baby,” the Clash’s “Janie Jones,” and Ray Charles’s “Come Rain or Come Shine.”
- Steven Soderbergh’s annual record of movies, television shows, books, and music he consumed over the previous year contains some striking juxtapositions, including a single day in which he watched an episode of Inside Amy Schumer and Touch of Evil.
- In anticipation of the twenty-fifth anniversary of Twin Peaks: Fire Walk with Me and a vinyl reissue of Angelo Badalamenti’s score, Alamo Drafthouse will be screening the film at various locations across the country.
- Analog aficionados, rejoice! Kodak is preparing to bring back “one of the most iconic film stocks of all time,” Ektachrome.
- And if that news excites you, you might also enjoy Filmmaker magazine’s video highlighting the best cinematography of 2016:
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.