Future Futures (2022)
Género : Música, Ciencia ficción
Tiempo de ejecución : 40M
Director : Brian J Johnson
Escritor : Brian J Johnson
Sinopsis
How do we bring our physical bodies with us into our inevitably digitally-bound futures? Collaboratively conceived by director Brian J. Johnson and Vancouver’s acclaimed Company 605, Future Futures is a collection of five short dance films that explore the digital destiny of humankind through a unique merging of camera and visual effects with a specific choreographic vision. Embracing the absurdity of centering dance inside a sci-fi narrative, the experimental series collapses time to portray human culture at an unprecedented moment: the emergence of a new, autonomous, and intelligent being—the digital reflection and culmination of ourselves. Through its otherworldly imagery, choreography, and driving electronic sound score, Future Futures evolves into a strange, highly visual exploration of what we are if we are no longer tied to our physical bodies, and how we will define humanity when faced with a fading IRL existence.
Cuenta la historia de un chico que llega a un pueblo en el que el fundamentalista Shaw Moore ha prohibido el baile. El joven, que además de rebelde es un entusiasta de la música, intentará por todos los medios acabar con esa prohibición, mientras se enamora de la hija de Moore.
Durante una visita a Roma, Ana, la joven princesa de un pequeño país centroeuropeo que detesta sus obligaciones y desea pasar inadvertida, se escapa de palacio para visitar la ciudad de incógnito. Así conoce a Joe, un periodista americano que busca una exclusiva y finge desconocer su verdadera identidad. La pareja vivirá entonces unas jornadas inolvidables.
Un hombre enfermo que ve que la muerte se acerca, empieza a considerar y a valorar de manera distinta la vida de los que lo rodean: unos verduleros, una panadera, una asistente social, un bailarín, un arquitecto, un sin-techo, un profesor de universidad, una modelo, un inmigrante ilegal de Camerún. Todos ellos tienen problemas que pueden parecer insignificantes, pero que para ellos son los problemas más importantes del mundo.
Vaudeville dancer Amy Muller performs a portion of her stage routine, which features dancing on her toes. She dances on one toe for part of the performance. Later, she also twirls and does cartwheels.
A glimpse into the world and methodology of dancer Martha Graham.
Sam Whalan es un severo capitán de barco que contrata a Sally, una chica pobre sin hogar, para que cuide de un bebé abandonado que va también en el barco, camino de Nueva York. Sally oculta su pasado y es, a ojos de los demás, la hija de un misionero.
In this movie, dancer Ella Lola performs a Turkish variation of a "Danse Du Ventre", the oriental belly dance. In her dance she shakes, twists and turns around in a very energetic dance. The elements of Turkish folklore can be felt despite the lack of sound as the differences from this and other belly dances are very notorious when her traditional Turkish dress swings in a marvellous way as she dances. Unlike other films about exotic dances, Lola's movies (the other was "Ella Lola, a la Trilby") were of a less erotic nature and more focused on the realistic representation of the dance. A professional dancer since a very young age, Lola's dancing is very graceful and showcases an enormous control over her body.
“Where We Danced” is the first in a three-part series that chronicles the evolution of American social dance. It tells the story of America’s dance through the lives of the dancers who shaped the art form as well as the places they danced. The story begins on the plantations where African and Western European culture collided to create America’s first truly indigenous social dance, the cakewalk. It continues through to 1930’s Harlem showing how dance helped shape popular culture in America and around the world. Over the decades dance has set trends in fashion and sexuality, giving the youth of the 20th century a voice to define itself from the rigidness of the Victorian era . It also gave African-Americans a means of expression when all others had been taken away.
Popeye and Olive visit a dance hall, where a contest is in progress.
A blond and a raven-haired beauty move with verve and style through a changing landscape. The fabric of their dresses flows and floats, adding to their allure. One loses a shoe. A young man picks it up and pursues them on his bicycle.
Blue-collar worker Vince stumbles into a dance school, where he quickly becomes entranced by the music. Miss McKenzie, the school's manager and former owner, is about to throw him out on his ear when Moon, the school's rebellious new jazz instructor, vouches for him. Although the school's new owner has insisted on bringing in Moon as a teacher, Miss McKenzie absolutely hates him and the influence of his mordern music, and will stop at nothing to see him (and Vince) thrown out for good.
Tras la última guerra, un negro del África civilizada viaja a la Europa salvaje para descubrir el baile tradicional de los blancos: el charlestón.
In 2007 the Sydney Dance Company appointed 29-year-old choreographer Tanja Liedtke as their first new artistic director in 30 years. However before she could take up the position, she was struck and killed by a truck in the middle of the night. Admired internationally as a dancer and celebrated for her fresh choreographic voice, she was known as a dedicated artist, intelligent, dorky, funny and generous. 18 months after her death her collaborators embark on a world tour of her work, and in the process they must deal with their grief and explore the reasons for her death. Interspersed with intimate footage of her artistic process and previously unseen interviews, Life in Movement is a film about moving creatively through life and loss. Filmmakers Bryan Mason and Sophie Hyde give us a powerfully rendered take on art and artists, creativity and our own mortality.
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
A Portrait of Giselle is a documentary film featuring Patricia McBride and Anton Dolin along with famous ballerinas who danced the role of Giselle in the past.
A young, dark-haired woman performs a dance inspired by George du Maurier's character Trilby, in an early modern dance style reminiscent of Isadora Duncan. She dances barefoot without stockings and is dressed in a long, flowing gown bound across the bosom in Grecian style, with inside fringe and a draped cape hooked to her wrist. She also wears what appears to be a garland headpiece. Holding her gown with one hand throughout, the dancer performs a series of kicks and turns with leg kicks front and back, rocking, and round de jambe.
Cuando un bailarín capaz es provocado por el mal diseño de su patrón, naturalmente él estará fuera para probar su temple.
Also known as THE LONELY DESTINY OF JOHN TRAVOLTO, it's the first and only Travoltasploitation movie. It's about a hotel cook named Gianni who can't dance but is frustratingly in love with the sexy blonde DJ (Cicciolina) at the nightclub "John's Fever". When one of the cook's coworkers draws a mustache and beard on a poster of John Travolta everyone somehow finally notices that Gianni looks exactly like Travolta and the game is on.
A woman stands in front of a building, a chair to her left, dressed in black, full skirt, quarter sleeves, and a scooped bodice. Her hair is piled high. She bows slightly, and, with finger cymbals, begins to dance the cooch.
A vaudeville routine: two denizens of the Bowery dance while under the influence. She's wearing a light dress with a full skirt. He wears a white sport coat and tie. Both have hats. On a small stage, she approaches him gingerly, leaning forward. He grabs her close, she leans into him, and he waltzes her around. (IMDb)
