PEDRA DURA has invited Valentina Moar, artistic director and curator of Dance on Screen Festival (Austria), to bring a selection of international films that have been screened at her festival these last few years and where the body/camera relationship is the core of the choreographer’s curatorial programme.
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— BEYOND, de Simone Wierød (DEN);
BEYOND is the aesthetic response to one of humankind’s current strategies to handle a global pandemic.
Removing oneself from civilization and detaching from whatever does not serve us anymore. Exploring new truths and roads to inner peace seem to be the only way to rise above collective anxiety. The film presents a number of absurd and surreal tableaus - a human beings’ awkward attempts on connecting with nature to only find herself more alienated than before. The lack of movement, the abstract non-moving dance, creates an interaction between inner and external motions.
Like someone said: When you cannot go outside – go inside.
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— BUBBLEGUM, de Ryan Renshaw (AUS);
Everybody's bubble must eventually pop.
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— COMPOSURE, de Matan Cohen (ISR);
A dance film dealing with the dark side of genius and the mind of the archetypal "mad artist". Inspired by Rowan Atkinson.
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— IN VELVET, de Jessica Kennedy e Megan Kennedy (IRE);
A journey of a child and a man, driving through the Irish landscape of green parks and stunted suburbs. There is an unsettled empty space that hangs between them. Will they continue on the road together or separate?
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— LOVE ME FEAR ME, de Veronica Solomon (GER);
"What would you be willing to do for them to love you?" LOVE ME, FEAR ME is a dance metaphor about the roles we play and the shapes we take, about the stages we chose, the audience we try to impress and the price of acceptance.
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— SHE, de Emil Dam Seidel (SWE);
Caught in a room the protagonist, Clarice, unfolds a vision of her own identity through a mirror interrogator.
Inspired by the book „The Passion According to G.H.“ by Clarice Lispector, the solo revolved around identity and doubt.
Manifested through movement, distortion and an interview with a phantom interrogator, the original work proposed looking at a questioning body through a female lens.
SHE is a cinematic adaptation of a solo dance performance with the same name, premiered in Montréal, Quebec in 2019. The cinematic adaptation of the original performance work arose during the first COVID lockdown in 2020 as a collaboration between Dorotea Saykaly and film director Emil Dam Seidel.
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— SWIVEL, de Lois Norman (GBR);
What if, you can be all of who you are and still allow another? That just for one night, judgement no longer exists? What if, an intimacy of touch, a truth of want, Swivels around your doubt and trusts? What if, love is not a gender, it is a swivel of the heart?
Swivel is a short gender fluid dance story by Award winning director Lois Norman, starring the trailblazing Iron&Sparks. With visceral Cinematography by Canadian Teryl Brouillette, powerful Sound Design by UK's Jemma Cholawo and New Zealand's Helen Mountfort moving cello score, Swivel is a brave leap of faith, that moves to express the courage it takes, to explore sexuality and self with true equality, acceptance and compassion.
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— VOID, de Henrique Pina (PT).
An encounter between the choreographer Tânia Carvalho and the Carpinteira pedestrian bridge, at Covilhã, by the architect João Luís Carrilho da Graça.
In a void, in suspension, the day follows to the encounter of the night; confrontation between identities, face and no face. Line drawn between two points. Steps; wriggling; bodies in frenzy. Under the mask, the face. The emptiness.
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