The "cueca" is Chile's national dance. Marveled by this form of dancing, the narrator reflects on the meaning of dance in our lives and how it has been portrayed in the history of cinema.
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The "cueca" is Chile's national dance. Marveled by this form of dancing, the narrator reflects on the meaning of dance in our lives and how it has been portrayed in the history of cinema.
Movies like Estudio de danza
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A documentary film that highlights two street derived dance styles, Clowning and Krumping, that came out of the low income neighborhoods of L.A.. Director David LaChapelle interviews each dance crew about how their unique dances evolved. A new and positive activity away from the drugs, guns, and gangs that ruled their neighborhood. A raw film about a growing sub-culture movements in America.
The small town of San Carlos suffers an atrocious injustice: the neighboring city of Chillán snatches from them the prize for the "Best Longaniza in Chile". Faced with this blatant theft, a group of people from San Carlos organizes a powerful social movement, which aims to obtain the precious "Denomination of Origin" for their longaniza sausages, and thus repair the damage and recover the dignity of their beloved town.
From the rains of Japan, through threats of arrest for 'public indecency' in Canada, and a birthday tribute to her father in Detroit, this documentary follows Madonna on her 1990 'Blond Ambition' concert tour. Filmed in black and white, with the concert pieces in glittering MTV color, it is an intimate look at the work of the icon, from a prayer circle before each performance to bed games with the dance troupe afterwards.
A portrait of the day-to-day operations of the National Gallery of London, that reveals the role of the employees and the experiences of the Gallery's visitors. The film portrays the role of the curators and conservators; the education, scientific, and conservation departments; and the audience of all kinds of people who come to experience it.
A love story, portraying the dilemmas and inevitable consequences of ambition. It is a film about a woman's fight for independence, a woman trying to succeed with her own art in the extremely competitive world of dance.
Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.
Don Luis Valdez is a luthier of traditional music instruments, who embarks on the task of teaching a group of inmates from the "Santiago 1" prison (Chile), to build a guitar.
The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890.
The senior year of a girls’ high school step team in inner-city Baltimore is documented, as they try to become the first in their families to attend college. The girls strive to make their dancing a success against the backdrop of social unrest in their troubled city.
The film presents thirteen rhythms of flamenco, each with song, guitar, and dance: the up-tempo bularías, a brooding farruca, an anguished martinete, and a satiric fandango de huelva. There are tangos, a taranta, alegrías, siguiriyas, soleás, a guajira of patrician women, a petenera about a sentence to death, villancicos, and a final rumba.
“Raised by Krump” explores the LA-born dance movement “krumping,” and how the dance has helped the lives of some of the area’s most influential dancers.
Out of State is the unlikely story of native Hawaiians men discovering their native culture as prisoners in the desert of Arizona, 3,000 miles, and across the ocean, from their island home.
This intimate ethnographic study of Voudoun dances and rituals was shot by Maya Deren during her years in Haiti (1947-1951); she never edited the footage, so this “finished” version was made by Teiji Ito and Cherel Ito after Deren’s death.
The remarkable spirit of tap dancers and their history provides a joyous backdrop for intimate portraits of hoofers Sandman Sims, Chuck Green, and Bunny Briggs.
BYE (AJÖ), a new dance film, is choreographed and directed by acclaimed Swedish choreographer Mats Ek. " About a woman (Sylvie Guillem) who takes leave of a certain stage in her life. It is a conversation that she has with herself that leads to new experiences.
Chronicles the rise of Collab Crib, one of the first mainstream Black creator mansion, exclusively documenting their whirlwind drive to achieve social media stardom in 90 days.
A small skit-documentary hybrid, written, shot and edited all in the space of a couple of hours on the 25th of October 2021, by exclusively myself, for a university project.
Although at first sight this might look like a simple ‘making of DANCER IN THE DARK’, the later developments in the film reveal the whole drama of Lars von Trier’s inner life during the shooting process. All his doubts and insecurities in collaborating with the crew and actors - especially actresses - are exposed. The biggest drama started when Björk walked off the set. Nobody knew whether she would be back or not. Admitting that he feels threatened by women, who can ‘make him feel embarrassed’, the director gives this documentary the nature of a personal diary. When he discusses the importance, purpose and beauty of the use of a hundred cameras in a certain sequence or the meaning of the Dogma 95 rules, the audience is witnessing the process of the artist’s search. Is the pain that the director went through during the shooting really visible in the final result, as Lars von Trier claims in this film? (from: http://www.idfa.nl/)
Ida, Olympe, Jeanne and Marie dance to the music of pianos, symphonies, contemporary pieces… in ballet school studios, in the streets, even in their bedrooms. They are between 6 and 11 years old. Very fond of each other, they film themselves, comparing and giving one another support. They also tend to annoy one another, are at times envious, even rejecting each other. What is it like for a little girl to grow up in a world of intense professional and competitive dancing? Closely following the emotions and dilemmas experienced by our young characters, this film explores and probes into a territory that we’ve all navigated, though many of us have forgotten: childhood.
At the end of the Cold War, something new arised that should influence an entire generation and express their attitude to life. It started with an idea in the underground subculture of Berlin shortly before the fall of the Wall. With the motto "Peace, Joy, Pancakes", Club DJ Dr. Motte and companions launched the first Love Parade. A procession registered as political demonstration with only 150 colorfully dressed people dancing to house and techno. What started out small developed over the years into the largest party on the planet with visitors from all over the world. In 1999, 1.5 million people took part. With the help of interviews with important organizers and contemporary witnesses, the documentary reflects the history of the Love Parade, but also illuminates the dark side of how commerce and money business increasingly destroyed the real spirit, long before the emigration to other cities and the Love Parade disaster of Duisburg in 2010, which caused an era to end in deep grief.
In Chile's Atacama Desert, astronomers peer deep into the cosmos in search for answers concerning the origins of life. Nearby, a group of women sift through the sand searching for body parts of loved ones, dumped unceremoniously by Pinochet's regime.
Brussels, La Monnaie Opera House. Three people near the end of their lives meet with choreographers, actors and musicians. They take part in a unique experience which involves music, dance and silence. Their journey becomes a tribute to the fragility of the human condition, between reality and representation, tragedy of the body and freedom of the spirit. Together they question their own relationship with death.
The tendency in the world is right-wing, neo-liberal, and people are more controlled. We have less liberty even if we think we have more. The last territory where we can be ourselves and where we can have full freedom is our own body. The documentary "BARE" focuses on male nudity in the modern dance. The story follows a well-known Belgian choreographer Thierry Smits through a process of building his new creation with a group of male dancers performing bare naked.
What threads of history bind Manhattan's Ground Zero to those of Nagasaki and Hiroshima? Or connect sight to truth, games to war, or the silkworm to the drone? What does the United States hold to be the role of science in warfare? How has war historically been waged in Buddhist traditions? These are some of the topics addressed in Eyewar: 80 minutes of found footage which traces the development of the digital image from the maps of the second century to the screens of the twenty-first, and the uses of the field of cybernetics from Japan in the 1940s to Chile in the 1970s and Iraq in the 1990s.
Four young girls prepare for a special Daddy Daughter Dance with their incarcerated fathers, as part of a unique fatherhood program in a Washington, D.C., jail.
A whistle blower counts the steps. The steppers share glances. The whistle blower stops blowing the whistle and attempts to steal their glances. Steps are broken and transform. A new glance replaces the old.
Jag Mandir: The Eccentric Private Theatre of the Maharaja of Udaipur
Jag Mandir is a quiet and often overlooked film in the vast oeuvre of Werner Herzog. Apparently, 20 hours of footage was shot that covered the whole fest and the film hardly presents us a twentieth of that. A native walking into the film in between may well fail to immediately realize that it is his country that is being shown and these are figures from the mythology of various sections of his nation. The bulk of the film consists of footage of an elaborate theatrical performance for the Maharana Arvind Singh Mewar at the City Palace of Udaipur, Rajasthan staged by André Heller.
A group of actors gather in a workshop performance. Its aim is to research, create and develop the drama of a future film. With an unfinished script, a story of love and bullfighting background, the TeatroLab actors with director Gabriel Olivares, we are immersed in the passion for the craft of storytelling from the emotion and truth.