A pair of fine memorials remind us what a unique presence we lost with the passing of Harry Dean Stanton. Drew Fortune rounds up a baker’s dozen of friends, collaborators, and fellow barflies to share memories of a flinty buddha who wouldn’t hesitate to cut you down to size even as he remained your boon companion. (“He’ll tell ya, ‘You’re nothing.’ Everybody would get mad, because they didn’t understand why he’d always be saying that. It’s his way of expressing that we’re all just individuals on the planet Earth—that you’re no bigger or better than anyone else. Him and Marlon Brando were tight, and he used to get Marlon all the time. He’d say to Marlon, ‘You know, we’re all nothing.’ Marlon would say, ‘What the hell do you mean?’”) And Brian McGuire, who directed Stanton in four films and acted as a special sort of assistant on the actor’s last, Lucky, recalls the headaches and concomitant great rewards that came from working with such a marvel. (“A million questions, all for just one short scene and one line! I made up answers on the fly, but Harry had yet more questions. ‘Where are we going after we leave the apartment?’ I said, ‘You’re going out to a nice restaurant for a celebration meal.’ Harry: ‘Where?’ I quickly spat back, ‘I don’t know, Harry, it’s been a long time since I had a nice meal. So you’re gonna have to pick the place.’ There was a long silence. Shit, did I just blow it? Did I go too far? Then I heard that classic old man voice say, ‘OK, I think I can do your picture.’”)
“There is beauty to burn here, and a hint of desolation in the train’s mournful horn as it pulls into Livingston, a town in the wide-open spaces of a state that has earned the nickname Big Sky Country. In and around that small town, we meet three strong-willed, uneasy women trying to shrug off or rise above or transform lives that feel too small for them. Each gets her own story in this portmanteau film, and though the women may brush against one another in passing, they will never meet. By the end, you might wish they had, if only to dissipate the loneliness that rises off them like morning fog. Reichardt weaves in comedy, in varying shades of wicked black, but she’s never one to shy from despair, even at the close of a film.” Ella Taylor plumbs the human depth behind the minimalist surface of Reichardt’s Certain Women.