Choreographer and dancer Pina Bausch famously said, “I’m not interested in how people move but what moves them.” I’ve found that the films of Cassavetes echo a similar sentiment, existing in a world of his own creation — one that unapologetically explored not only what it means to be human and to love, but how that feels. “We need love like food, water and air, and we don’t know how to get it,” said Cassavetes, whose work was perennially imbued by rigorous matters of the heart. “And that’s our struggle.” His onscreen relationships expressed the great labors of love, the enduring plight of everyday existence, and the explosive collision that comes when lives intertwine. But for Cassavetes, one of his greatest and most complex roles was as husband to Gena Rowlands, the woman who became not only the soul of his work, but the physical embodiment of that overwhelming emotion he wished to express.