Jer/Z (2023)

RIZE é um íntimo retrato completamente novo de jovens do centro da cidade que criaram arte--e muitas vezes família--onde antes não havia nenhuma. Rodeados por drogas, gangues e pobreza, eles desenvolveram um estilo completamente único de dança que evolui diariamente. Com muita garra e criatividade, eles conseguem sair por cima.

A Princesa Anne embarca em uma turnê por diversas capitais europeias e que é altamente explorada pela imprensa. Quando ela e sua comitiva real chegam em Roma, ela começa a se rebelar contra o seu horário extremamente regrado. Uma noite Anne dá uma escapulida de seu quarto, pula na traseira de um caminhão de entregas e escapa seu luxuoso confinamento. No entanto, um sedativo que ela foi forçada a tomar mais cedo começa a fazer efeito, e logo a princesa está prestes a dormir em um banco público. Ela é encontrada por Joe Bradley, um repórter de um jornal americano correspondente em Roma. Ele a leva até o seu apartamento. Na manhã seguinte, Joe corre para cobrir a conferência de imprensa da princesa Anne, sem saber que ela está dormindo em seu sofá. Na hora em que ele percebe a sua boa sorte, Joe promete ao seu editor uma entrevista exclusiva com a princesa.

Estamos nos anos 60. O sonho de todo adolescente da época é aparecer no "The Corny Collins Show", o programa de dança mais famoso da TV. Tracy Turnblad, uma grande garota com grande cabelo e coração maior ainda, tem só uma paixão na vida: dançar. Mesmo sendo gordinha para os padrões locais, ela impressiona os juízes com seu estilo e ganha espaço na atração. A garota se torna um sucesso, ameaçando a hegemonia de Amber von Tussle. O público ama Tracy. Mas a disputa se torna pessoal mesmo quando as duas passam a lutar pelo amor do jovem Link.

No Alasca, Carlitos (Charles Chaplin) tenta a sorte como garimpeiro em meio a corrida do ouro de 1898. Lá ele conhece o gordo McKay (Mack Swaim), com quem cria bastante confusão após uma tempestade de neve, e se apaixona por uma dançarina (Georgia Hale).

Recém-chegado de Chicago, Ren McCormak fica frustrado quando descobre que a pequena cidade proíbe a dança e a música de rock. Enquanto se esforça para se ajustar, Ren enfrenta uma árdua batalha para mudar a situação. Com a ajuda de um amigo, Willard Hewitt e da adolescente rebelde Ariel Moore, ele talvez consiga liberar esta cidade conservadora. Mas o pai influente de Ariel, o reverendo Shaw Moore, se torna um obstáculo.

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).