Did you know the Walker has a free screening room with over 400 titles? Archivist Jill Vuchetich traces this history of this unique Minnesotan moving image venue.

Leila Weefur explores filmmakers who reimagine the Western genre’s boundaries as a vehicle for examining power, identity, and resistance.

Writer, activist, and facilitator adrienne maree brown explore hope in the face of dystopias, what stories can be found in our DNA, and the potential that speculation has for making the world a better place.

As a part of her Cinema Residency at the Walker, Madeleine Hunt-Ehrlich conducted a series of interviews with Black women, including Rachel Scott, marion eames white, Ilze Wolff, and Sinnamon Love, to reflect on and extend themes in her work.

Brooklyn-based artist-writer Ayanna Dozier joins Zia Anger (My First Film) to discuss pain, pleasure, and filmmaking.

In the lead up to their new improvisational work that blurs live performance and film, Autumn Knight discusses their history with drama therapy, the power of group dynamics, improvisation, and nothingness.

Artists Lis Rhodes and Aura Satz, longtime friends and collaborators, explore ideas of notation and how films can be “scores.”

An exploration into the potential for resistance and struggle for change within a selection of Winnipeg films brought together by artist-filmmaker Rhayne Vermette.

Credited with coining the term Indigiqueer, for contemporary Indigenous LGBTQI2 people, Theo Jean Cuthand (Plains Cree, Scottish/Irish) sits down with Shaawan Francis Keahna to discuss vampire video games, Indigenous trans visibility in filmmaking, as well as what futures are possible when we draw from multiple lived experiences.

How does a gesture, image, or word from history get passed down across time and space? What does it make possible in the here and now? Guest curator and writer Jon Davies, examines how queer signals sent decades ago via moving image works cry out to be heard.

From the 1950s through the end of the 1980s, the film and TV schools in Prague and Poland attracted hundreds of students from countries including Syria, Algeria, Iran, India, Colombia, and Cuba. Looking back at this history, a group of scholars reconsider the successes and failures of this attempt by authorities to promote global socialist solidarity.

In a season of questioning diplomacy, local artist Cameron Patricia Downey curates a collection of moving image works that explore how we perform anger and aggression.

Expanding on the nautical relationships found in Allan Sekula’s Fish Story, this collection of moving image works maneuver between globalized infrastructure and our associations with the physical and metaphorical world.

Writer and researcher Yasmina Price explores Alanis Obomsawin’s 1993 film Kanehsatake: 270 Years of Resistance, Fourth Cinema, and using the camera as an emancipatory weapon.

Cameron Patricia Downey and Khari Lucas co-curate a playlist from the Ruben/Bentson Moving Image Collection and raise questions that explore the nature of documentary, performance, and portraiture in the films they chose together.

Canadian Inuk visual artist, filmmaker and writer asinnajaq speaks with Svetlana Romanova (Sakha/Even) and Chelsea Tuggle (Jewish/American) on the relationship between Chris Marker’s Letters from Siberia and their film Тарыҥ (Season of Dying Water).

In the lead-up to the launch of the summer film series Hanif Abdurraqib’s Black VHS Experience, poet, essayist, music writer, and MacArthur Genius award recipient Abdurraqib sat down with Valérie Déus to discuss the impact of these films as well as their connections to music and art.

The first in a series of playlists from the Walker’s Ruben/Bentson Moving Image Collection curated by Cameron Downey explores the unique ability moving image works have to allow us to return, again and again, to the past while also being in the present.

The editors behind UNHhhh and Why R Humans? discuss their collaboration, the evolution of editing, and the potential that comedy has for bringing disparate peoples together

Most Walker staff work behind the scenes in supporting the presentation of world-class art. Meet one of these indispensable groups is the Event Production Department, who makes the live performance, film screenings, and lectures possible.

Cameron Downey, current artist in-residence within the Walker’ Moving Image Department discusses the queer allure of city infrastructure, basement parties, and the lasting impact the city has on one’s work.

Pablo de Ocampo, Walker’s director and curator of Moving Image, sits down to discuss access to films, artist-driven approaches, as well as the past, present, and possible futures of cinema at the Walker.

As a Turkish immigrant to the United States, experimental filmmaker Nazlı Dinçel relates the tedious acts of physically animating words onto each frame of film, or hand processing each roll of film, to the traditional female roles in her Turkish upbringing. Dinçel works primarily in 16mm film, focusing on themes of immigration, desire, and dislocation.

Originally planned as an on-site presentation, Black Living: Jazz, Gentrification, and Get’n By was rescheduled and reformatted as an online program this September 8-22 with a live Zoom conversation with Dr. Steffan A. Spencer and local filmmakers Bianca Rhodes and E.G. Bailey. Dr. Spencer was invited to give his perspective on his selections for the program, including two recent local works, and their themes.

Commissioned to create soundtracks for silent films in the Walker’s collection for our annual Sounds for Silents showcase, Twin Cities musicians including Andrew Broder and Lady Midnight noticed events in the world—from deepening isolation and anxiety related to the pandemic to the police murder of George Floyd and the uprisings it sparked—permeating their thoughts and the resulting soundtracks. Here, we share the thinking of this year’s participants.

“As I documented these talks, I realized the conversations were not just between the filmmakers and their interviewers. As a collection, they were also in dialogue with each other, creating an alternate and deeply personal film history that spans decades and genres.” Miranda Harincar on helping bring more than 60 filmmaker interviews online as part of the newly launched Walker Dialogues and Retrospectives’ 30th-anniversary project.

How can we make sense of a quickly, dramatically changing world? And how do factors like culture, family, and history influence the way we understand a threatened landscape? In commemoration of the 50th anniversary of Earth Day, we present The Vanishing Landscape, a series of short works that explore how experimental filmmakers, poets, and media artists interpret times of seismic change. 

Since 1970s, the Walker has maintained a close relationship with Bruce Baillie. He’s been a part of 20 solo and group screenings, eight of his films are in the collection, and his work was included in the 2013 exhibition The Renegades: American Avant-Garde Film, 1960–1973. In commemoration of Baillie’s passing April 10 at age 88, Michael Walsh, the Walker’s Assistant Curator/Archivist of Moving Image, pays respect to Baillie’s far-reaching influence and shares his memories of meeting Baillie while living in San Francisco in the 1990s.