Woman
An evocation of the origins of the world. A hymn to the beauty of the human form. A celebration of movement. A metaphor for life and death. Lodela draws its inspiration from the Bardo Thodol, with the film's title a corruption of "l'au-delà," a French term for the hereafter
Man
An evocation of the origins of the world. A hymn to the beauty of the human form. A celebration of movement. A metaphor for life and death. Lodela draws its inspiration from the Bardo Thodol, with the film's title a corruption of "l'au-delà," a French term for the hereafter
Director of Photography
An evocation of the origins of the world. A hymn to the beauty of the human form. A celebration of movement. A metaphor for life and death. Lodela draws its inspiration from the Bardo Thodol, with the film's title a corruption of "l'au-delà," a French term for the hereafter
Self
Interview with Canadian dancer-choreographer William Douglas, who discusses his struggle to come to terms with AIDS, and his awareness of the disease's potential effects upon his life and art. Speaking from Montréal and his family's vacation home in Nova Scotia, he looks back upon his work as a choreographer, noting the impact Merce Cunningham's choreography has had upon him, and tracing the development of his own style. He talks about his love of dancing and teaching dance, and how this love has helped him transcend his fears for the future. His partner José Navas also contributes to the discussion. Excerpts from Douglas's works Anima, we WEre WARned, and Thorn are intercut with the interview.
Director
Marcus, a reserved teenager with mutism, attends public school for the first time in his life. Pushing through trials and prejudices of the past and present, Marcus soon uncovers a special gift he’s been hiding from the world.
