Dance Rebels: A Story of Modern Dance

The documentary portrayed one of the most established dance companies in Hong Kong which has a history of over four decades. With a tradition of blending Chinese dance and ballet together in the training, the dance company has set sail to re-evaluate its artistic essence by adapting new physical disciplines and philosophy, picking up different cultural traces, meditation and Chinese martial arts. Through monologues of the company members, the film unveiled their fears, self-doubts, and findings in their quest to refine their dance forms and express their cultural roots. It's an uncertain journey towards the cultivation of inner peace and the essence of movement and stillness.

We are a conversation is a 2014 documentary directed by Alexis karpouzos and Spyros rasidakis and written by Alexis karpouzos exploring the unity of humanity, featuring poets from around the world, whose lives have been dedicated to explore the mysteries of life and existence.

The most popular breakdancer in ex-Yugoslavia, Hamit Djogani, better known as Djole Djogani, made a documentary about his life and collaboration with the biggest stars of regional music scene. With rich documentary material and recordings from private archives, Djogani gathers close associates again and creates an interesting story that testifies to a specific time in the 1990s.

Why We Fight? is a cinematographic film that tries to understand the violence around us, but also within ourselves, in order to better cope with the world today.

Maher, a Palestinian man, a former political prisoner. He is an electrical engineer by profession but an artist at heart. He dreams of staging a contemporary dance performance in Ramallah. In order to do so, he must deal with his disapproving family, tight budgets and cultural norms. Set in today's most contested location, Maher's story is a parable about a society in conflict, where the real war is between dreams and traditions.

Dance and prostitution play the same role for Cristhian’s body. Virtuosity, desire, technique, and sex intertwine, granting coherence to a way of life that offers many answers to few questions. A leitmotiv that reconciles opposites and contradictions. Answers that are sometimes painful, like all truths.

The Universal Language is a new documentary from Academy Award-nominated director Sam Green (The Weather Underground). This 30-minute film traces the history of Esperanto, an artificial language that was created in the late 1800s by a Polish eye doctor who believed that if everyone in the world spoke a common tongue, humanity could overcome racism and war. Fittingly, the word “Esperanto” means “one who hopes.” During the early 20th century, hundreds of thousands of people around the world spoke Esperanto and believed in its ideals. Today, surprisingly, a vibrant Esperanto movement still exists. In this first-ever documentary about Esperanto, Green creates a portrait of the language and those who speak it today that is at once humorous, poignant, stirring, and ultimately hopeful.

A documentary about young people with autism, and how arts and creative therapies help them to lead fuller lives.

In a video installation distilled from a live performance that Forsythe choreographed and directed in 2016, dancers Rauf "Rubberlegz" Yasit and Riley Watts clasp and unclasp each other in complex configurations that make it difficult for the viewer to determine where one body ends and the other begins. This slow-motion physical and optical puzzle, which Forsythe calls an "entanglement", is a choreographic event from which the common elements typically associated with choreography—the structural development of time and space and the visual isolation of parts—have been subtracted. The complex "threading" of the dancers' bodies into their own negative spaces creates visual conundrums that defy the apparent logic of the situation. The title is a play on words that, like the human situation it describes, threads two languages together: the English word "align", which sounds like the German word "allein" (alone), is fused with the German word "Einigung" (agreement).

Director Carolin Genreith takes a warmly ironic look at her mother and her female friends but also addresses her own fears and vanities. A vibrant portrait which looks beyond the borders of one twentysomething’s coolly urban lifestyle in Berlin to examine the travails of menopause – as well as the art of banishing one’s fear of ageing with a well-placed hip thrust.

Thierry De Mey filmed Rosas danst Rosas in the former technical school of architect Henry Van de Velde in Leuven. The film version is much shorter than the show itself. In his film Thierry De Mey opts for a heavily ‘inter-cut’ version in which, apart from the cast of four dancers from 1995 and 1996, he also has all the other performers from the long history of the show dance along. He makes maximum use of the geometrical and spatial qualities of the Van de Veldes building. Incidentally, the building was thoroughly renovated straight after the film was made, making it one of the last testimonials to the original architecture. The film was shown on all of the major European television channels and also had a cinema career in the ‘art house circuit’.

Four of Sweden's most innovative choreographers travel to Ingmar Bergman's home on Fårö to explore and get inspired. The result is a unique contemporary dance film.The renowned Swedish choreographers Alexander Ekman, Pär Isberg, Pontus Lidberg and Joakim Stephenson, with principal dancers Jenny Nilson, Nathalie Nordquist, Oscar Salomonsson and Nadja Sellrup from the Royal Swedish Ballet, interpret Ingmar Bergman through four unique dance performances reflecting on human relations and intense feelings. The dances are linked together with images of the epic natural beauty of Fårö and Bergman's poetic home Hammars, including the voice of the master himself - Ingmar Bergman - revealing his thoughts about movements and music.

Choreographer Dave Gould and his students demonstrate various tap dancing steps. Also featured are an adagio and Russian sword dancers.

Danser sa peine

A history of the work of Merce Cunningham.

Considered one of the most influential dancers of all time, Angel Vianna marked her name in history after founding the Klauss Vianna School with her husband. Taking the lead of the project, she created her own dance style, mixing body expression with classical ballet, and soon afterwards formed a transformation to dance in a course that has postgraduate lato sensu. Today, at the age of 90, she struggles to remain active and exercise her greatest passion.

Soldiers dancing.

The San Francisco scene in 1967-68. Documentary about hippies shot during the height of the movement . Viewpoints from many kinds of people. Music by Steve Miller Band, Mother Earth, Quicksilver Messenger Service and others.

“Where We Danced” is the first in a three-part series that chronicles the evolution of American social dance. It tells the story of America’s dance through the lives of the dancers who shaped the art form as well as the places they danced. The story begins on the plantations where African and Western European culture collided to create America’s first truly indigenous social dance, the cakewalk. It continues through to 1930’s Harlem showing how dance helped shape popular culture in America and around the world. Over the decades dance has set trends in fashion and sexuality, giving the youth of the 20th century a voice to define itself from the rigidness of the Victorian era . It also gave African-Americans a means of expression when all others had been taken away.

Vaudeville dancer Amy Muller performs a portion of her stage routine, which features dancing on her toes. She dances on one toe for part of the performance. Later, she also twirls and does cartwheels.