Dance Rebels: A Story of Modern Dance

An unprecedented and intimate look at the life, work and enduring legacy of British actress Audrey Hepburn (1929-1993).

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.

Episode of the Belgian Flemish Television (BRT) program Het Gerucht on the development of Anne Teresa De Keersmaeker's choreography "Bartók/Aantekeningen" (in English: "Bartók/Annotated"), created in 1986 for four dancers from the company Roses . "Bartók/Aantekeningen" is the fifth work by Anne Teresa De Keersmaeker, after "Ash" (1980), "Fase, Four Movements to the Music of Steve Reich" (1982), "Rosas danst Rosas" (1983) and "Elena's Aria". "(1984).

A short documentary about the creation process of Rosas danst Rosas, the performance that forced Anne Teresa De Keersmaeker’s international breakthrough and has become a benchmark in the history of postmodern dance. This documentary, directed by Stefaan Decostere for the BRT cultural programme Het Gerucht [The Rumour, ed.], uses fragments of rehearsals and interviews with De Keersmaeker and composer Thierry De Mey, offering a glimpse of the choreographic creative process in which repeated abstract movements play a key role.

To produce this intimate portrait, choreographer William Forsythe suggested director Mike Figgis (Director of the Oscar-winning Leaving Las Vegas) should join the Frankfurt Ballet company for six weeks, where Forsythe had been Artistic Director since 1984. A rare choreographic talent whose work is both intellectually and physically challenging, Forsythe makes a clear and articulate case for his method of deconstructing classical ballet. Figgis takes the role of fascinated outsider, pursuing his volatile subject with a dogged enthusiasm. The documentary focuses on the build-up to the first performance of Forsythe's The Loss of Small Detail, and the soundtrack features the avant-garde music of Thomas Willems and Handel's Concerti Grossi.

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).

William Forsythe, acknowledged as one of the greatest choreographic talents of our time, and his long-time collaborator Dana Caspersen, also of the Frankfurt Ballet, perform a duet conceived especially for the camera. From a Classical Position constitutes a one-off experience of Forsythe and Caspersen's work, giving dance lovers a unique vision of their art as choreographers, dancers and now film-makers. The piece is performed to an original score by Thomas Willems, a composition for a single piano, which like the dance, is at once naked in its simplicity and at times spell-binding in its complex intensity. To this sometimes-music and sometimes-silence performance, Caspersen and Forsythe dance a duet of sublime passion and sophistication, a love story without sentimentality.

When his name emerges from the Goblet of Fire, Harry Potter becomes a competitor in a grueling battle for glory among three wizarding schools. Signs of Voldemort's return emerge as Harry's friends help him prepare for the Triwizard Tournament.

A koala named Buster recruits his best friend to help him drum up business for his theater by hosting a singing competition.

Fresh out of rehab, Rona returns to the Orkney Islands—a place both wild and beautiful, right off the Scottish coast. Now 29 and after more than a decade of living life on the edge in London, where she both found and lost love, Rona attempts to come to terms with her troubled past. As she reconnects with the dramatic landscape where she grew up, memories of her traumatic childhood merge with more recent challenging events that have set her on the path to recovery.

Max is a handsome young man who, after a fateful tryst with a German soldier, is forced to run for his life. Eventually Max is placed in a concentration camp where he pretends to be Jewish because in the eyes of the Nazis, gays are the lowest form of human being. But it takes a relationship with an openly gay prisoner to teach Max that without the love of another, life is not worth living.

Inside the Kit Kat Club in 1931 Berlin, starry-eyed singer Sally Bowles and the lewd Emcee sound the clarion call to decadence, while outside, the Nazi party grows into a brutal force. (Filmed live during the 1993 revival, Sam Mendes' directorial debut takes place at the Donmar Warehouse in London's West End.)

The diversity of Wayne McGregor's astonishing talent is demonstrated through Chroma, Infra and Limen, each created for The Royal Ballet, for whom he is resident choreographer. Intimate yet universal, light yet dark, frenetic yet lyrical, McGregor pursues his passion for exploring the inner workings of the human body and mind, his many-layered and beautiful dances providing visual, sensual and kinaesthetic stimulus for the viewer. Works: Chroma (Talbot; White III); Infra (Richter); Limen (Saariaho).

In this experimental film conceived by Sylvie Guillem, the choreographers become dancers or photographers: William Forsythe dances a superb solo and Mats Ek films his brother and Sylvie Guillem in Smoke, an oniric and sensual duet.

The first revival of Wayne McGregor’s critically acclaimed ballet triptych to music by Max Richter, inspired by the works of Virginia Woolf.

Whirlwinds, burning forests, erased cities – the centuries-old artworks housed in the Louvre strongly resonate with our present time. Forêt follows a new generation of Rosas dancers moving amidst these artworks, bridging past and present. Choreographed by Anne Teresa De Keersmaeker and Némo Flouret in 2022, the performance was designed for the Louvre’s Grande Galerie and its famed 'red rooms,' home to Italian masterpieces and 19th-century French Romantic art. Evi Cats captured this performance, with a camera that moves almost imperceptibly between the dancers and the audience, alternating between intimate close-ups and wide shots of the imposing scenery.

A short film based on the work of choreographer Anne Teresa de Keersmaeker.

Film version of the dance performance of the same name.

A video essay about the rehearsal process of the dance performance Mozart / Concert Arias, un moto di gioia, a choreography by Anne Teresa De Keersmaeker and Rosas, which premiered at the Festival d’Avignon in July 1992.

Through a tensely balanced trio, Aatt enen tionon invites the audience to examine dance from top to bottom, from the base to the apex. Within a structure built like a tower on three levels, each body is held hostage by its platform. Isolated, solitary and semi-naked, Matthieu Burner, Boris Charmatz and Olga Dukhovnaya interpret in a strictly disorderly manner a choreographic score which is precise and raw.