Jer/Z (2023)

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.

ローマを訪問した某国の王女は儀礼的な行事にうんざり。大使館を飛び出し、一人でローマの街をうろうろしていた彼女は、アメリカ人の新聞記者に出会う。特ダネを狙っていた彼は、彼女が王女だと知りながらも知らない振りをするが、その計画は失敗に終わってしまう。二人が恋に落ちてしまったからだ……。

1962年、ボルチモア。ぽっちゃり体型だが前向きな16歳の女子高校生トレーシーは人気TV番組「コーニー・コリンズ・ショー」の憧れのキャスト、リンクと踊る日を夢見る。そんな時トレーシーは母エドナの反対を押し切って番組のオーディションに参加して一度は落選するが番組を司会するコリンズの目に留まり、レギュラー出演者の座を獲得。やがてトレーシーには黒人の友人が増えるが、番組が黒人を差別していると気付く。

雪深い山に金鉱を捜し求めてきた一人の金鉱探し・チャーリー。猛吹雪に難渋した上、転がり込んだ小屋にはお尋ね者のブラック・ラーセンがいた。やがて、同じく猛吹雪で転がり込んできた金鉱探しのビッグ・ジム・マッケイと避難生活を送ることとなる。寒さと飢えがピークに達し、ビッグ・ジムはチャーリーがニワトリに見える始末。やがて靴を食べる生活まで始めた。 ビッグ・ジムと別れ、麓に出来た新興の街にやってきたチャーリーは酒場で出会ったジョージアに一目ぼれ。最初はチャーリーの単なる片思いであったが、ジョージアも粗暴なジャックに愛想を尽かし、チャーリーに少しずつ思いを寄せるようになる。 酒場で偶然再会したビッグ・ジムと艱難辛苦の上、ついに金鉱を探し当て百万長者になったチャーリー。帰りの船上でジョージアと再会。めでたく結ばれる。

ケヴィン・ベーコン主演の青春ドラマ。ロックもダンスパーティも禁じられているアメリカ中西部のある小さな町に、都会から一人の青年が転校してくる。彼は自分たちの自由を取り戻すべく、仲間を集めて大人たちへの逆襲を開始する。

Kunhikuttan, a famous Kathakali dancer, meets Subhadra, a woman from an upper caste family, who falls in love with his character rather than himself.

This new Christmas ballet film was conceived by Matthew Bourne and directed by his long standing film collaborator Ross MacGibbon. The film celebrates Bourne's power to imaginatively transform ballet, taking dance and dancers off the stage into studio, bringing together projections, animation, and an intimate shooting style to produce a distinctive new way of presenting dance on screen. Those who know Bourne's stage work will spot extracts from many of his biggest hits (including Swan Lake, Edward Scissorhands, and Nutcracker!), but for audiences less familiar with his work this is simply a journey through a series of magical worlds where stories are told through dance.

“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.

This puzzling experimental film is written and directed by Raymond Rouleau, who uses effects like changing color tones and masks to put across a drama within a dance drama. The set is a sound stage and the actors in this film are dancers on the stage, performing a mime-ballet derived from one particular legend. Both the enacted legend and the actual events affecting the dancers are parallel. The lead dancer Isa (Ludmila Tcherina) is still nursing her wounds after her first love left her to stand alone at the altar. Now one of the dancers wants to expand his relationship with Isa -- and soon after, the cad who jilted her suddenly shows up again. Tragedy follows closely behind.

A drunken college student invites a dance hostess to the big college dance and then forgets he asked her. When she shows up at school, he tries to get rid of her, but she won't leave. Instead, she stays and shows up both him and his classmates' snooty dates.

This is a short, simple ballet performance. Colors are used here, but the print is quite badly damaged.

Made in 1903, Eccentric Waltz showcases an exhibition by dancers Boldoni and Solinski, residents at the famous Eldorado cabaret in the Boulevard de Strasbourg in Paris. The lavish stencil colouring emphasises the woman's swirling skirt. (BFI)

A woman walks, loves, eats and washes herself, dances. It all takes place in a bedroom. At times flashbacks, or visualizations of previous or following scenes. Unless her life in the bedroom becomes an obsession, she lives through the other scenes.

This is another short, simple dance number. It’s quite stunning and unusual though with a bat turning into a woman who proceeds to give us a skirt dance before disappearing into thin air. The dance is mesmerising with the skirt stunningly changing colour throughout the film.

A very graceful dance with voluminous draperies, by Annabelle Moore, well-known on the metropolitan stage.

As dancer Ginny Walker performs on stage, a veiled woman in the audience stands up, accuses Ginny of stealing her husband and then fires a gun at her. After Ginny collapses and is taken to her dressing room, the woman, Julia Westcolt, a friend of Ginny's, dashes backstage, discards her veil, and then congratulates her friend on their successful publicity stunt. When Ginny's press agents, Gus Crane and his son Junior, visit their client backstage, she brags about her feat and chides them for not being more creative in promoting her. Horrified at Ginny's brashness, Junior, a conservative Harvard graduate, chastises her and leaves the room.

American Indians dancing.

Hail the New Puritan is a fictionalised documentary about the Scottish dancer and choreographer Michael Clark. Set design by the inimitable Leigh Bowery.

A combination of the picture entitled "The Ballet of the Ghosts," and a surf scene; the resulting effect being that the ghostly figures rise up out of the surf and come to the shore, cast their draperies aside and dance a few steps of the ballet, after which they again take up their draperies, and having covered themselves, retreat into the waves.

A woman in ballet slippers wearing a large white hat and a long white dress - with ruffles, puffy sleeves and petticoats - dances across water with roiling waves behind her. She holds the edges of the skirt with her hands, lifting and twirling, sometimes exposing her bloomers and a dark garter on one leg. Her style combines ballet with the exuberant kicks and twirls of a burlesque dance hall. With churning waves behind her, the water seems to wash beneath her feet. The film of the dancer, "M'lle. Cathrina Bartho" (1899), is superimposed on that of the water, "Upper Rapids, from Bridge" (1896).