In his two-and-a-half year tenure as film/video curator at Walker Art Center, the Belgium-born Cis Bierinckx imported a distinctly European aesthetic of cinema programming. The philosophy amounted to this: Give the audience what they can't get elsewhere--world cinema of the highest (and rarest) order in particular--and without compromise. (No Tom Hanks or Jonathan Demme dialogues in the Bierinckx era.) There were times when this brand of curatorial contrariness baffled more than it enlightened. Did we really need a retrospective of films whose soundtracks were created by the late Jack Nietzche? Did anyone happen to see a single worthy feature in the "DIG.IT" series of digital-video cinema? But in hindsight it seems clear that Bierinckx was doing exactly what he should have been: using the ample resources of the Walker to challenge its audience--to risk losing that audience, even. And in the last 12 months of his work, Bierinckx unspooled a mix of high and low from here and there that was both essential and utterly unpredictable: Highlights included films by American choreographer Bob Fosse (several months before Chicago), Russian minimalist Alexander Sokurov (several months before Russian Ark), and Dutch documentarian Heddy Honigmann; a startling series of new Latin American cinema; and sneak previews of The Fast Runner (Atanarjuat), Domestic Violence, and Gerry, which are some of the best movies in years. Though the curator has already moved away from Minneapolis, his final program--four blood 'n' guts shoot-'em-ups by Tokyo bad boy Takashi Miike (June 4 to 18)--will guarantee that Bierinckx goes out with a bang.

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1750 Hennepin Ave.
Minneapolis MN 55403


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