Living Stars

Dance Revolutionaries is a captivating exploration of raw emotion through dance set in stunning locations, showcasing Portraits – five solo dances, and an innovative production of the rarely-seen ballet, Sea of Troubles.

Rumba Rules, New Genealogies offers an enjoyable, rough-edged glimpse into the music scene of Kinshasa, with impromptu shots drawing the viewer into jam sessions on plastic chairs, and the quest for perfection at the studio.

The "cueca" is Chile's national dance. Marveled by this form of dancing, the narrator reflects on the meaning of dance in our lives and how it has been portrayed in the history of cinema.

Film about the town of Penge featuring local personalities, housing, shopping, traffic and the Penge formation dancers.

Tchai is the word used by Ju/'hoansi to describe getting together to dance and sing; n/um can be translated as medicine, or supernatural potency. In the 1950's, when this film was shot, Ju/'hoansi gathered for "medicine dances" often, usually at night, and sometimes such dances lasted until dawn.

Filmmaker Maia Wechsler follows choreographer Stephen Petronio as he prepares dancers to restage the 1968 production of "RainForest."

Documentary on the great American Ballerina Wendy Whelan

After moving to Bucharest, Sânziana reflects on how this change has affected her perception of herself and her body.

A look behind the scenes with ‘TOMORROW x TOGETHER’ & ‘ENHYPEN’, two HYBE artists, as they prepare for their first joint performance.

Santiago Mitre co-directs his first movement following The Student together with choreographer Onofri Barbato. Although it would have been more accurate to say “his first film-story-adventure-movie-great movie following The Student”, the word movement fits perfectly in Los posibles, the most overwhelmingly kinetic work Argentine cinema has delivered in many, many years. The film deals with the adaptation of a dance show directed by Onofri together with a group of teenagers who came to Casa La Salle, a center of social integration located in González Catán, trying to find some refuge from hardship. Already entitled Los posibles, the piece opened in the La Plata Tacec and was later staged in the AB Hall of the San Martín Cultural Center. Now, it dazzles audiences out of a film screen, with extraordinary muscles and a huge heart: Los posibles is a rhapsody of roughen bodies and torn emotions. Precise and exciting, it’s our own delayed, necessary, and incandescent West Side Story.