The Potent Partnership of John Cassavetes and Gena Rowlands
Rowlands died last August, at age 94, and now, from May 2 through 14, the Pacific Film Archive in Berkeley, Calif., is honoring their creative union by screening the six films he wrote and directed that starred her. But one needn't live in the Bay Area to see most of them, as the bulk are available on disc from the Criterion Collection, via various rent-or-purchase apps or streaming on the Criterion Channel.
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Yahoo
2 days ago
- Yahoo
‘The Notebook' Star Gena Rowlands' ‘Legendary' Hollywood Retreat Lists for $5 Million—One Year After Her Death
A glittering Hollywood Hills retreat that served as the home of legendary filmmaker John Cassavetes and "The Notebook" star Gena Rowlands for decades has been put on the market for the first time in more than 60 years. The "legendary" dwelling, which is located "in the heart of the Hollywood Hills' prestigious 'Celebrity Row,'" spreads across 4,300 square feet and provided a "sanctuary" for the stars during the height of their fame. Rowlands, who died in August 2024 at the age of 94, and Cassavetes, who died in 1989, raised all three of their children in the sprawling property, which they also used as a set for some of their most famous films, including "Faces," "Minnie and Moskowitz," "Opening Night," and "Love Streams." Today, the home remains a tribute to their illustrious careers, with listing images capturing walls filled with movie posters, behind-the-scenes stills, and dozens of photos of the couple spending time with their celebrity pals. "The property was not just a home but also a creative hub, where films were made, memories were created, and a generation of filmmakers was inspired," the home's description notes—honoring the lasting careers of the couple's children, Nick, Xan, and Zoe, all of whom followed their parents' footsteps into the movie business. After Rowlands' death, the property was passed into a trust in her name—having been in the family for 63 years, with the actress holding on to the abode even after marrying her second husband, Robert Forrest, in 2012. Nestled in the heart of the Hollywood Hills, the home is located on 1 acre of land that includes "one buildable lot, offering rare future potential in this coveted location," the listing, which is held by Kate Blackwood and Kristal Moffett of Compass, notes. "A long, tree-lined approach leads to a classic traditional home with elegant Hollywood Regency details, gracious scale, and abundant natural light," it continues. The home remains in much the same condition that it was in when Rowlands died, with many of its original architectural details intact, "including a one-of-a-kind hand-painted bathroom artistic centerpiece created by a family member." The home features five bedrooms and five bathrooms, as well as several picturesque living spaces, including a cozy bar that is littered with photographs taken throughout Cassavetes' and Rowlands' careers. A wood-paneled living space, complete with a fireplace, doubles as a relaxation area and a library, with one wall dedicated to built-in bookshelves. The kitchen, which boasts elegant black-and-white tile flooring, features a darling breakfast nook where families can gather for a meal—or they can head to the sunroom, which has its own space for relaxing. For more formal occasions, there is an opulent dining room that serves as the perfect space for larger gatherings. When you head upstairs, past the wallpapered staircase, you are greeted with a primary bedroom that is flooded with natural light and also boasts a fireplace for added coziness. A small entertainment room with funky green walls completes the second story in true style. "This was not only a home, but a creative sanctuary where films such as 'Faces,' 'A Woman Under the Influence,' 'Minnie and Moskowitz,' and 'Love Streams' were conceived, edited, and in part filmed, contributing to the legacy of American independent cinema," the listing shares. "A once-in-a-generation opportunity to own an authentic piece of Hollywood history." While the dwelling regularly served as a movie set for the couple, Cassavetes once remarked that they worked hard to separate their professional and personal lives, saying: "When Gena and I are home together, we're husband and wife. "On the set, we're deadly combatants. We have great respect for each other, like enemies do." Rowlands echoed those statements in a 1984 interview with People, telling the outlet: "John and I probably disagree on just about everything in the world. "But that's what marriage is all about. If you think a marriage isn't going to be like that, you've got trouble." She later admitted that she had never planned to get married—telling T Magazine that her only ambition in life had been to act. "The one thing I never wanted to do was to fall in love or get married or have children. I wanted to act," she revealed, while adding that her relationship with Cassavetes was one of life's "little surprises." Still, their yearslong collaboration on camera is remembered as one of Hollywood's most legendary partnerships, with the duo working together on 10 films, while each appearing in many more during their careers. Rowlands carried on that tradition of making movies a family business when she teamed up with her son, Nick, on the hit 2004 film "The Notebook," which he directed. His actress mother, meanwhile, starred in the heart-wrenching project as an ailing woman suffering from dementia—a storyline that was made all the more poignant after Rowlands' family revealed that she herself had been struggling with dementia in the five years before her death. In addition to her Hollywood Hills home, the actress also owned a property in Indian Wells, CA, where she died, surrounded by family members.


Geek Vibes Nation
6 days ago
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The Criterion Collection Announces Plans To Revive Acclaimed Eclipse Line This Fall On Blu-Ray
The Criterion Collection has announced plans to revive its celebrated Eclipse line, a continuing series of lost, forgotten, or overshadowed films presented in simple, affordable box-set editions. The previously DVD-only Eclipse line has been on ice for several years, but it will return this November, and this time films will be upgraded to Blu-Ray. The label is going to be upgrading some of the most popular titles as well as producing brand-new sets, and they will be kicking off the series relaunch with a new release of Abbas Kiarostami's early films. This deep dive into the prolific and wide-ranging first two decades of the director's career will include playful shorts made for children, probing feature-length documentaries on education, and exquisite narrative masterpieces about adolescent longing and disappointment. Series editor Imogen Sara Smith had the following details to share about the relaunch: In the coming months, you can look forward to Eclipse sets of the six extraordinary features directed by Kinuyo Tanaka, Japan's first successful woman director; and five searingly radical documentaries from the husband-and-wife team of Kazuo Hara and Sachiko Kobayashi. And we'll get you singing and dancing with Blu-ray upgrades of Carlos Saura's electrifying Flamenco Trilogy and Ernst Lubitsch's joyously risqué pre-Code musicals. Also in the pipeline are sets devoted to the early films of Ruben Östlund and the revolutionary cinema of Sara Gómez. With the relaunch of the Eclipse line, Criterion reaffirms its commitment to making the full richness of film history accessible with the reliable permanence of physical media. Each release will use the best available materials and feature an essay in which an expert shares historical context and insight about the films. The standard cinema canon has been shaped—and sometimes misshapen—by what films are available. In a vicious cycle, films that can't be seen are forgotten, and hence less likely to be restored. Preservation and access, on the other hand, form a virtuous cycle, spurring rediscovery and further efforts to ensure the survival of a fragile medium. Alongside the ever-expanding Criterion Channel, Eclipse is once again fostering this rediscovery, serving as an enduring home for deep cuts and hidden treasures. Are you excited for this revived line of physical media releases? Let us know in the comments or over on Twitter. Before we let you go, we have officially launched our merch store! Check out all of our amazing apparel when you click here and type in GVN15 at checkout for a 15% discount! Make sure to check out our podcasts each week including Geek Vibes Live, Top 10 with Tia, Wrestling Geeks Alliance and more! For major deals and money off on Amazon, make sure to use our affiliate link!


The Verge
07-08-2025
- The Verge
40 years later, Brazil is as prescient as ever
Brazil opens with a bureaucratic error. A fly gets stuck in a typewriter, changing the surname of Archibald Tuttle to Archibald Buttle, a misprint on a form that dictates the government forcibly detain a suspected terrorist (Tuttle) but instead leads to the arrest of an entirely innocent man (Buttle). If the inciting events of our great science fiction films have been hostile aliens, seductive robots, and reckless technologies, Terry Gilliam begins his with a humble typo. Rewatching Brazil in 2025 — nearly four decades after its release — it's hard to understate how well this movie holds up. Wildly inventive at every turn, Gilliam's satirical vision of a cruel and violent bureaucracy rings eerily true of this political moment. The film finishes a weeklong run at New York's Film Forum with a new 4K restoration, which you can also get on Blu-ray. (And honestly, the non-4K version of Brazil that you can perennially stream on The Criterion Channel still looks great too.) A lot of that has to do with Gilliam's hysterical dystopia — Mad Men by way of Wolfenstein. Brazil also imagines a hyper-efficient future that never made the leap to digital. Pneumatic tubes shoot paperwork between offices; seas of typists clack forward the cogs of an industrial machine. Everything in this world is an Orwellian/Kafkaesque melange of forms and stamps and obtuse experience of watching Brazil is at once being impressed by how it looks while also being horrified by what's depicted. The ominous cityscapes have wonderfully art deco touches, yet the gargantuan buildings cast long, haunting shadows; many of the sets take inspiration from Nazi iconography, complete with gigantic eagles and massive lobbies guarded by stormtroopers. Also, look at this logo: Isn't that the best movie logo you've ever seen? A perfectly cast Jonathan Pryce inhabits Sam Lowry, a mid-level bureaucrat. He lives in a small apartment, complete with dysfunctional Rube Goldberg gadgetry that ends up pouring coffee on his toast. (The film has no shortage of Gilliam's adoration of slapstick, a carryover of his Monty Python days.) Lowry's mother and friends push him to be more ambitious. Yet he resists the rat race, turning down a promotion to a much more prestigious branch of the government simply because he isn't interested. In this dystopian world, oppressed by the hierarchical structures of capitalism, the only hero is a slouch. A fantastical/horny dream plotline is the most Lowry gets activated, and as he chases down the culprit for the Tuttle and Buttle mix-up, he encounters several different departments foisting the blame off on other offices. 'Information Transit got the wrong man. I got the right man,' says one bureaucrat. 'The wrong one was delivered to me as the right man; I accepted him on good faith as the right man. Was I wrong?' There is no accountability in this government, and characters act with self-interested careerism in mind over any semblance of morality. After Buttle is killed, Lowry has to deliver a receipt to his widow. Earlier this year, as part of the Trump administration's attempt to deport undocumented immigrants, ICE illegally deported Kilmar Abrego Garcia. He was sent to El Salvador before the government admitted it had made an error. Then the agency backtracked, claiming it had never made a mistake. In response to calls to return Garcia to the US, the Department of Homeland Security claimed it had no authority to do so. The deflection of responsibility, the ludicrous reasoning, the deferential loyalty to the state — these are the things Terry Gilliam satirized in Brazil. Most science fiction films emphasize the dangers of technology; Gilliam saw the sinister machinations of bureaucracy. Watching Brazil 40 years later, it's even clearer what we were being warned about. Some of that clarity is literally the 4K restoration. But even through all of Gilliam's gags and elaborate sets, we see all the twisted incentives that eventually normalize fascism. Posts from this author will be added to your daily email digest and your homepage feed. See All by Kevin Nguyen Posts from this topic will be added to your daily email digest and your homepage feed. See All Entertainment Posts from this topic will be added to your daily email digest and your homepage feed. See All Film Posts from this topic will be added to your daily email digest and your homepage feed. See All Movie Review