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Akasha, 2017, Switzerland, 5 min
Directed by Sean Wirz
Produced by Hannah Rocchi, Sean Wirz
Choreography by Sean Wirz/Hannah Rocchi
Dancing by Jelena Pfister, Simon Progin, Annina Biesold, Nadir Josi
Music by edIT/The Glitch Mob (Los Angeles)
Cinematography by Sean Wirz/Jean-Christophe Dupasquier
Edited by Sean Wirz
"Akasha: the all-embracing fifth element. It moves effortlessly on the shores of the world. It overcomes gravity, explores the deepest of waters and fuels with its power the eternal flame of life. Akasha knows no space, no time, no fixed form.
This high-tension dance short offers the viewer a surreal encounter with the sovereign of earth, air, water and fire. Akasha is embodied by four different performers who move to the futuristic song Ants by Los Angeles based musician edIT. His quintessential electronic music contrasts heavily with the metaphysical theme of the film. The result is a vibrant and ephemeral glimpse into the powers of the universe."
Traverse, 2018, Canada, 13 min
Directed by Marlene Millar
Produced by Sandy Silva, Marlene Millar
Choreography by Sandy Silva
Featuring Migration Dance Film Project
Dancing by "Sonia Clarke, Afia Douglas, Hélène Lemay, Kimberly Robin, Sandy	SILVA, plus 24 extras
Music composed by Jean Frechette, Sandy Silva
Music performed by All dancers
Cinematography by Geoffroy Beauchemin
Edited by Jules De Niverville
"Traverse" weaves the stories of five women into a tapestry of collective experience as they journey, confronting obstacles along the way. Through this process of reflection in motion, a powerful sense of strength is ignited.
Passage, 2018, United States, 4 min
Directed by Madison Plummer and Cindy Brandle
Choreography by Cindy Brandle
Featuring Cindy Brandle Dance Company
Dancing by "Bridget Heddens[CR]Jessica Riggs[CR]Victoria Stone "
Music by Peter Gregson
Filmmaker: Madison Plummer
Filmed in a tunnel in Colorado, Passage is an excerpt from Cindy Brandle Dance Company's concert "The Process of Navigation," which premiered in April 2018.
Movement Never Lies, 2017, France, 4 min
Produced and Directed by Angèle Methangkool-Robert
Choreography and dancing by Angèle Methangkool-Robert
Music composed by J.S. Bach
Music performed by Ophélie Gaillard (Label Aparte Music)
Cinematography by Valentin Williet / Célestin Monteil / Hugo Camusso
Edited by Valentin Williet - Angèle Methangkool-Robert
A dance floor as a giant canvas and my own body as a paintbrush. With this project, I wanted to explore transdisciplinarity in art, by making a parallel between dance and calligraphy. In both domains, the movement is the most important.
To draw a beautiful letter, the calligrapher must have a perfect hand gestural. More generally, gestural that we can see in any hand writing is telling something from the one who wrote it. Dancers are telling things with body, gestural, and movements. The way someone is moving tells a lot about him/her. To support this reflexion, I have decided to use a citation of the choreographer Martha Graham: "Movement Never Lies."
Kâbus, 2017, France, 8 min
Directed by Alice Fargier
Produced by Nicolas Anthomé
Choreography by Erdem Günduz
Cinematography by Cansu Boguslu
Edited by Angelos ANgelidis
Istanbul 2016. Turkey is experiencing a disturbing political turn. Meanwhile, a man, troubled by the sounds of an increasingly menacing conflict, fails to find sleep. How to sleep while one hears the ghosts of war? Where did these explosions come from? From the city or his own head?
Hungars Beach, 2015, United States, 3 min
Directed by Kate Corby
Produced by GoEun Kim
Choreography by Kate Corby
Featuring Kate Corby & Dancers
Dancing by Jessie Young and Josh Anderson
Music composed by Nat Evans and Kate Corby
Cinematography by MinSeung Chang, SeEum Jung
Edited by MinSeung Chang, Kate Corby and Elizabeth Wadium
Still Photo by MinSeung Chang
Hungars Beach explores memory, trauma and the power of place through a series of simultaneously beautiful and unsettling images. A small beach and cottage provide a vivid backdrop for a woman in distress, haunted by images of her younger self and the inescapable weight of loss.
The Carnival Kid, 2017, United States, 5 min
Directed by Michael Perry
Produced by Amalia Kaufman, Joey P. Fama
Choreography by Lane Napper
Dancing by Cooper Flanagan, Matt Wiercinski
Music composed by Michael C. Perry
Music performed by Jour Majesty
Cinematography by Rüdiger Barth
Edited by Michael C Perry
Ever have a little bit of trouble concentrating at work? Travis does. He can’t seem to get much done with his co-worker Adelaide on his mind. This imaginative romantic-comedy is reminiscent of the golden age of Hollywood musicals, including an old Dixieland band, just for starters! The Carnival Kid is a surreal Technicolor musical short set to the music of Jour Majesty.
The Icons, 2017, United States, 4 min
Directed by Mitchell Rose
Produced by Ashley Roland, Jamey Hampton, Mitchell Rose
Choreography and dancing by Ashley Roland & Jamey Hampton
Music by William Goodrum
Filmmaker: Mitchell Rose
Alternative interpretations of signage from America's favorite generic couple, The Icons.
InterState, 2018, United States, 6 min
Directed by Ilana Goldman , Gabriel Williams
Choreography and dancing by Ilana Goldman
Music composed by Patrick McKinney
Music performed by Patrick McKinney and Greg Sauer
Cinematography by Gabriel Williams
Edited by Ilana Goldman
This short dance film features a mysterious and ambiguous masked figure embodying both animalistic and human characteristics as it travels across the country in search of home and self. InterState is an investigation of identity, migration, and displacement, set against the backdrop of America’s most dramatic and dynamic landscapes. From Seattle and St. Louis to Mt. Rushmore and variously magnificent national parks, InterState explores the connection (or lack thereof) between living organisms and habitat, at every turn questioning the idea of a “natural environment.” What do we carry with us when we move—literally? Each new location, each new scene provides an opportunity for the soloist to unearth a symbiotic way of moving in relation to the environment while simultaneously maintaining a sense of self, physically holding onto idiosyncrasies regardless of place, space, or time. By the film’s end, the audience is caught up in the soloist’s journey, bound to the rhythmic sense of timing created as the singular body carved space—and identity—in each terrain it inhabited.
Letter, 2017, Slovenia, 4 min
Produced and Directed by zeljko bozic
Choreography by zeljko bozic
Dancing by ANA KATANE, ANDRAŽ GRULJA, ANISA KETE, EVA MRHAR, HANA HUČ, JAKOB HORVAT, KAJA ELSNER, NIKA FUGINA, NIKA ZUPANČIČ, NINA ZABUKOVNIK, MATIC DOLINAR, MILJAN NOJIĆ, PETRA STAMENKOVIĆ, ŽELJKO BOŽIĆ
Music by zeljko bozic
Cinematography by saso stih
Edited by zeljko bozic, nikola janusic
Director of Photography by saso stih
"Letter" deals with issues of self-esteem and self worth. These insecurities are dealt with daily but often left unspoken, since they are widely considered a weakness. The author reveals his own doubts to point out that we are in this together.