As a stunning 4K restoration arrives in theaters, the director and cast reflect on creating the disturbing descent into a criminal underworld

Michael Mann has shown time and again in films like Thief, Heat, Miami Vice and Public Enemies that he is one of American film’s greatest explorers of the underworld. “It’s like a kind of cultural anthropology,” Mann tells me from his office in Los Angeles. “If you make films, you get to do that in a different place with a different subject every few years. For me, the exploration is the high.”

With its unsettling atmosphere and soaring beauty, Mann’s 1986 film Manhunter reimagined how a thriller could look, sound and feel in an early high point for the director. To commemorate its 40th anniversary Manhunter: The Final Cut, a 4K restoration and director’s cut with three minutes of new footage, will see a theatrical release in New York and Los Angeles this weekend with a nationwide US rollout to follow.

After the classic series became a pandemic-era smash, a glossy new adaptation aims to explore the complexities of frontier life

Each incarnation of Little House on the Prairie has reflected the fears, hopes and hangups of its time – from Laura Ingalls Wilder’s semi-autobiographical children’s novels, first published in the wake of the Great Depression, to the television series they inspired, which premiered amid a recession and an oil crisis in 1974.

Netflix’s reboot, premiering on 9 July, is no exception. “The stories are able to transcend generations, which speaks to its basic nature,” says Luke Bracey, who stars in the new series as Charles “Pa” Ingalls, the rugged family patriarch. “This is a family trying to get along in the world.”

As a new retrospective opens, collaborators of the Mikey and Nicky film-maker explain how she blazed a trail for female directors in Hollywood

In 1975, after more than two years of sifting through footage, Elaine May was still in the weeds editing her deeply personal gangster film, Mikey and Nicky, and Paramount Pictures and its CEO, Barry Diller, were losing patience. In a desperate move to retain control, the director sold the film out from under Paramount to Alyce Films, a phoney production company reportedly set up by May, the film’s star, Peter Falk, and a number of other co-conspirators. But the sale was halted, and May was ordered by a judge to deliver the film to Paramount, which she did, except for two essential reels which mysteriously went missing until the studio agreed to let her supervise the editing of the final cut.

Set in the flophouse hotel rooms and diners of Philadelphia, Mikey and Nicky is one long, panic-inducing hangout between two gangsters, one (Nicky, played by John Cassavetes) is on the run for robbing his boss, while the other (Mikey, played by Falk) is torn between hiding his best friend or handing him over. Nicky wants to evade the contract killer he knows is on his trail, but he also wants to drink beer, go to the movies and play hot hands with Mikey on the bus. Mikey wants to care for Nicky; you get the sense he’s been doing it for a long time. He wants to feed him antacids and milk to treat his ulcers, but he’s also got a family and has outgrown their dynamic. They go back a long way and their relationship, though full of love that is apparent in every look and gesture between the two, is also fraught with a history of small betrayals, the kinds of slights and indignities that only stay with you when you really know and love someone. Right at the heart of this unglamorous gangster film is one of the most beautiful and bleak portrayals of male friendship ever put on screen.