The Most Direct Filmmaking: Dwight Swanson on Home Movies
The cultural value of home movies, says Dwight Swanson, is that they can share unexpected moments of intimacy and humanity or views of history that might otherwise be lost. These tales, he adds, can be so honest and bracing due to the simple fact that their intended audiences may have been only a handful of people.
The Cameras Must Stay On: Censorship, Jafar Panahi, and This Is Not a Film
Officially directed by Mojtaba Mirtahmasb—and unofficially by Iranian filmmaker Jafar Panahi—This Is Not a Film follows a harsh legislative decision that effectively banned Panahi from making movies for 20 years after he was convicted of conspiring against the state. He and Mirtahmasb set out to turn the sentence inside out, obeying the letter of the law in order to implicitly denounce its spirit.
Eve Sussman’s Cinematic World Without End
Equal parts sci-fi, noir, and formalist structure, Eve Sussman’s new multifaceted film embraces two creative touchstones: the first is the protean symbol of the Russian Cosmodrome, and the second is its namesake, Malevich’s painting White on White. Mining a surreal post-Soviet ambience, the result is a calculated, never-ending fever dream caught in a forgotten corner of the Earth.
The Walker Joins Minnesota’s Arts Community in Opposing Marriage Amendment
The Walker proudly joins with 120 cultural organizations in endorsing the Minnesotans United for All Families Campaign, which is working to defeat the marriage amendment on the ballot November 6.
Cinema Renovation Pushes the Future, Preserves the Past
The cinematic experience is in turmoil, caught between the push to the future—an industry-wide switch to all-digital projection—and the pull of the past. The Walker Cinema’s renovation allows us to play it both ways: advancing the art of film, while also showcasing its rich history.
Listening to the World: A Conversation with Béla Tarr
Matt Levine and Jeremy Meckler
Hungarian filmmaker Béla Tarr has a reputation for terse gruffness, and some may conclude, misguidedly, that his films merely exhibit misanthropy and hopelessness. Yet what becomes apparent very quickly in speaking with the director is his humanism, his deep respect for individuals both in reality and as characters in his movies.
Beyond Real: Wim Wenders and 3-D Film’s New Day
Matt Levine and Jeremy Meckler
“3-D is the greatest revolution ever since the talkies, only most people [don’t] realize it because we [think it is] just a gimmick for national blockbusters,” says Wim Wenders, whose new film, Pina, reflects the technology’s newest wave. “Now some movies come out that show the true potential of 3-D, which is really a whole different way of seeing the world.”
Nathalie Djurberg’s The Parade
Eric Crosby and Dean Otto
Primal and chaotic, Nathalie Djurberg’s art “doesn’t look like anything else out there,” says Eric Crosby, co-curator of the artist’s first major US museum show. In an interview, he and the Walker’s Dean Otto discuss how Djurberg’s claymation and sculptures fall outside conventions of both the film and contemporary art worlds, while channeling a “universality of experience that speaks to us all.”
Chaos and Creativity
Jumping from the ’80s activism of ACT UP to the oil fields of Iraq, the death camps of World War II to 9/11, The Smiths to The Golden Girls, Jim Hodges’ World AIDS Day film offers striking context for both Felix Gonzalez-Torres’ art and the continuing struggles for social change today.