Albert championed the work of John Cassavetes and Gena Rowlands, who were appreciated in Europe before they were accepted by critics and audiences here. Of Faces, he wrote: "Since 1963, Cassavetes has been involved with the creation of a new type of film narrative, a close perusal of the lives of a group of Los Angeles night people, shot entirely on 16mm, and using, for the most part, little-known professional actors. This film is a cruel, moving work of primitive art, following the adulterous escapades of a well-to-do couple as they systematically lacerate their emotions to the point of incommunicability. The acting and photographic technique give everything the immediacy of a newsreel of the boudoir, handled by a social philosopher. The camera is always microscopically close so that there is, finally, an overwhelming sadness about these grinning faces. Cassavetes wants to catch the chance phrase and the revelations that are often camouflaged by an averted glance; he is a seer, staring into the future and shedding its merciless glow over the futile present."