“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.”

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.”

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.

The films in the Walker’s new series on forgotten aspects of the feminist movement present many views, but underscore one point, says co-curator Paula Rabinowitz: “Feminism was much more diverse and international than people tend to think, and it was concerned with racism and class.”

Much parsed and puzzled over, Shohei Imamura’s famous pronouncement, “I’m a country farmer; Nagisa Oshima is a samurai” may be ambiguous in tone and intent—is it ironic, invidious, deferential?—but it emphasizes the directors’ differences: class, stylistic, and otherwise. Often paired as twin avatars of the Japanese New Wave, a term Oshima (born in Kyoto, 1932) took every opportunity to spurn and…

The Walker’s Women with Vision international film festival recognizes the unique contributions and perspectives women bring to the art of filmmaking. It also provides a showcase for their remarkable and poignant stories and documentaries. Films featured this year explore issues that often pertain to vulnerable populations in a variety of countries and cultures. Among these is Older Than America…

Public engagement, access, and community storytelling are the major reasons I found myself attracted to documentary filmmaking. With my first documentary, Witness, I saw the need for exhibition venues that are open to young people and that could host community conversations. This is when, in 1999, I first experienced the Walker and the Girls in the Director’s Chair program. In March 2007, I premiered my…

In a recent roundup of Mexican movies on DVD, Village Voice critic J. Hoberman began by asking if cine Mexicano predates the likes of Del Toro, Iñárritu, and Cuarón. Obviously the question was rhetorical—and satirical as well. Here’s another in the same vein: Do Mexican cineastas need global distribution and Oscar nominations to be considered nuevo? Put it this way: If you say the French New Wave is…

A driving force behind cultural awareness and diversity programs inside one of the world’s largest corporations, Cecilia Stanton, assistant vice president of diversity at Allianz Life Insurance Company of North America, sat down with Walker film/video curator Sheryl Mousley to discuss Allianz Life’s support of the Women with Vision festival. Sheryl Mousley: Given the size of your organization, you…