Brand New Life
Razan Wirjosandjojo, director; Angga Bakti Effendi director of Photography & Cameraman; Bayu Roy Pradana music composer; Ratna Putri Wardani, production manager; Wahib Arif photographer
Took inspiration from “Gerakan Hidoep Baroe/New Life Movement” propaganda which was planned in between Saiko Shikikan and Chuo Sangi-In under Japan imperialism in Indonesia in 1945. This movement is delivered by 33 revolutionaries as a trigger for national movement in the economy and infrastructure development. This work reflects the past history to see the utilization of propaganda in today’s reality. This work questions the relationship between the ruling authority and the public that is bonded by economy centric based system.
Kenne Felipe, director; João Henrique and Kennedy Lucas, imagens
Vitamin D is an attempt to look at the past thinking about the present as a possibility to better understand the divergences of contemporaneity. Between walls, shadow and thirst, at dusk or dawn, the body puts itself in a state of exposure involved in the poetry of the body’s memories and stories that are constituted through time, space, tension and conflict.
What does the wind take?
Kenne Felipe, direction and photography; Flavia Luana, creator interpreter
We play body, voice and words to the flow of the wind, we lose and gain possibilities to enjoy the experiences that emerge from the displacements and feelings about the passage of time within us. What the wind takes is a reflection on the invisible forces of space in the rediscovery of possible and habitable places.
String Quartet n. 5
Marco Saccani, director; Rebecca Lanzoni dancer; Giulia Lanzoni, 1st Assistant Director; Laura Lanzoni, operator; Silvia Bini, production assistant; Kronos Quartet music
String quartet No.5 is a 24 hours film production made possible by SOLO Interactive and the Venerdì Film Crew. Shot in Mantova the 07/01/2022. This project takes life from the music of the title. The whole shot is an improvisation of the dancer, her movement follows the delirious beat of the music. It seems like she’s escaping from something that she’s trying to leave behind her, but at the same time is chasing after the viewer in an attempt to reach something that still seems out of her way.
Open Field – Perspective
Gabriela Jung and Camila Fersi, directors; with Bruna Fiuza, Camila Fersi, Carol Martins, Elisa Menezes, Gabriela Jung, Helena Matriciano, Jo Sefarty, Julia Pechman, Maria Raquel Lima Passos, Natália Quinderé, Tamara Rothstein, Tatiana Kessedjian
The videodance is a choreographic edition of filmings of improvisation jams at Open Field – virtual encounters during social distancing period – that points out relations between different dances and spaces, and combines different angles of views on the same dance.
Gabriela Jung, Director; with Gabriela Jung and Tamara Rothstein
Encounter through the house, through the skin, a screen from afar echoes in the body, pulsates in movement and creates a common body. Ecos is a videodance created from an editing of the weekly improvisation meeting Campo Aberto playing with the superimposition of image and movement.
NEW HORIZONS Shooma
Martina Nevistic Vukobrat, director; Nina Bajsic, writer; Petra Valentic producer; Martina Nevistic Vukobrat, choreography and dance
Searching for an alternative gaze that focuses on detail, minimalism of movement, geometry and the transformation of forms that body in motion produces, the film in its own specific way and setting, experiment with the boundaries of viewer perception, whether playing with multiplied expositions of body in space or the background against which it moves. By interweaving the media of live performance and film a new space opens up, one that expands the horizon of expectations that exist in a theatrical setting.
Roberto Cherubini, director; Ilaria Ignesti dancer
IN-CONTRO is a project that arises from the desire to investigate the relationships and correlations between the concept of space and time. The aim is to offer a vision of reality that assumes an illogical logic, for which two same bodies share the same space at the same time. The idea aims to provoke reflections upon the illusion of experiencing a shared and concrete reality online, where what we perceive as tangible it is rather surreal, as it is subjected to personal interpretation and variations of space and time.
A fire in my belly
Elie Polyrock Haddad, cinematography & editing; Naomi Kats, choreography & performance; Anna (AZAMI) Huszak, music; Naomi Kats, text writing & speaking
“Go and shoot at what is already over.
Go argue with what is possible. For my better half”.
This dance film is an Israeli co-production made by the dancer Naomi Kats with the cinematographer Elie Polyrock Haddad.
The film gives the opportunity of zooming into one life story.
Tizo All and Marc Philipp Gabriel, directors; Tizo All and Marc Philipp Gabriel, dancers; Tizo All, choreography, Marc Philipp Gabriel, music
In the pandemic-stricken olive groves of Puglia, Southern Italy, two human bodies emerge from the trees for a dance of death.
The film is an artistic response to the rapid spread of the xylella fastidiosa bacteria in Southern Italy as a result of lacking biodiversity in the hundreds of years old monoculture olive groves. Over 60% of trees have been infected and are dying with no cure. Local olive farmers are deprived of their income basis.
Giusy Franzese, director, writer, producer
The body: dwelling and inhabitant. The body is our primordial home and we come into the world inhabiting the one in which we are procreated. The body is for every human being the first home, the space, the habitat of his first formation. At birth, we are then called to inhabit our body, to get to know it and learn through it, to listen to it and love it because in it – and not outside it – we build the network of relationships that give meaning and content to our inhabiting the world. In turn, the body we inhabit when we come into the world is an inhabiting body, a body that already inhabits the space that surrounds us without the need for a physical location. It is possible to move from anywhere but not from oneself and for this reason it would be wise to take care of one’s home from which, in fact, one cannot escape.
Elisa Morciano, director, writer, dancer; Marco Puzzello, producer, dancer, music
One day of many I was born. Lost in the attempt to be someone, finally a refuge. Body, skin, hair, grains of sand: my inner space aggregates through my flesh and bones and disintegrates in the form of stones, debris, rocks eroded by the sea and wind over the years and centuries. Rocks and stones as bones, sand and wind as soul. Finally disappearing, finally existing. Me and the whole: zero degrees of separation.
Marie Haußdörfer, director, writer, producer, dancer
Jungkyun Shin, director, writer, producer; Sanghyun Seo, dancer
We find the results of imitation and “scene-staging” in Simulation. All the elements in Simulation’s partitioned three-dimensional space – the vibrations – is included to create a particular scene. With such a staged disaster or emergency, the participants expect to learn some pre-designed pattern of behavior. But then something unexpected happens: the character in Simulation speaks out, declining to go along with the anticipated theater. Struck by the vibrations, he lurches forward. He is too alive to be called powerless, too frail to be called strong. Eliciting a temporary pausing effect, the scene recalls Brecht’s attempt to turn theater from a place of illusion to one of a practical experience. In other words, by distancing us from and rendering a strange contemporary experience where we exist in a form of temporary theater, Shin encourages us to notice the unstable – or perhaps artificial – ground upon which we stand.
We hide to be found
Camilla Montesi and Eva Rebecca Chiucchi, directors; Camilla Montesi, writer
There is a genuinely logical instinct that drives us to the act of detachment. An instinct that aims at the construction of a nest in which to hide, in which to dwell moved by calm and excitement. It is a nest that becomes a game of measurements and distances, of looking at things from afar. But it is in the act of moving away that we reach the origin of trust, and to be discovered is like stepping out of a magician’s box.