By: Conçetta Ciarlo, Marthe Mabille, Alexandra Macon, Olivia Marks, Erik Morse
Rowlands was, in many ways, a figure always on the edge of the screen, a face caught in half-shadow, a woman on the verge. This is perhaps on no better display than in “Faces” (1968) and “Love Streams” (1984), unofficial bookends of her work with John Cassavetes.