“I’ve been obsessed by questions of representation,” Martha Rosler says of her antiwar and feminist art. “It’s one of the guiding themes of my work, an interest in representation itself as a way in which our world is formed for us.”

French New Wave pioneer Jean-Luc Godard is going where Wim Wenders, Martin Scorsese, and James Cameron have gone before: into the realm of 3-D film. Currently in production, his Farewell to Language uses the technology.

Ying Liang, whose film Good Cats screened at the Walker in 2009, says that because of his new film he’ll be arrested if he returns to China. Now in Hong Kong, his When Night Falls is about the case of a Shanghai man executed in 2008.

A Ukrainian game developer’s first-person shooter game adaptations of Andrei Tarkovsky’s 1979 film Stalker have “subpar graphics, horrid writing, abysmal voice-acting, tasteless menus, and tediously clichéd music.” Yet to Gabriel Winslow-Yost they’re “remarkable.”

Struck by their penchant for pageantry, Nathalie Djurberg—whose Walker-organized show of avian sculptures and films opens at the New Museum May 2—notes how birds’ “outward parade or display is really an inward search for all these funny rituals and emotions.”

Michel Gondry’s new film, the French-language The Foam of Days, features Audrey Tatou as a woman suffering a strange illness that involves water lilies growing in her lungs. How these weird cars, spotted on the set of the project, fit in is anyone’s guess.

William Klein says he’s long worked alone. “I’m an outsider, I guess. I wasn’t part of any movement. I was following my instinct.” Reactionary politics is why he never moved back to the US from Paris, he says: “I’d be dead from a heart attack by now.”

Starting a blog, David Simon (The Wire, Treme), defends internet pay models: “Journalism, literature, film, music—these endeavors need people operating at the highest professional level and they need to make a living doing what they do. Copyright matters. Content costs.”