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.
Feminism & Film: No Single View
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.”
In the Realm of Oshima
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…