'Burn from the Inside' is not your typical narrative work. It delves into the exploration of music and its origins, examining why we have an innate desire to dance or move when we hear music, sound, or voices. It seeks to understand the essence of what triggers our movements and the emotional responses evoked by music. - Mthuthuzeli November The profound question arises: why do certain things compel us to jump up and dance, while others make us want to sit back and do the opposite? The most significant realisation in this exploration is that from the very beginning, we were destined to be moved by sounds. Consider the musicality present in the way we speak. Every language has its own unique cadence and rhythm. For instance, the Khoi people of South Africa employ clicking sounds in their speech, creating a rhythmic quality. Even before externalising it, our own bodies possess inherent musicality. We can observe this in the heartbeat and even in the rhythm of our walking. These natural rhythms can transform into music, affirming that our inclination to move has been woven into the fabric of our existence since the dawn of creation. Reflecting on personal experiences, a childhood memory emerges from the Eastern Cape. Gathered inside a hut, family members would chant while a fire crackled in the sand. The ambiance created by this ritualistic chanting became a favourite lullaby, transporting the young narrator to a state of pure tranquility. In that space, devoid of pain, sadness, or happiness, they found a place of profound stillness. The intention was to preserve the sense of communal togetherness experienced around the fire, a shared moment of deep connection. In creating "Burn from the Inside" Mthuthuzeli sought to capture this communal feeling through the film's unique approach. By immersing oneself in the collective experience, viewers have the opportunity to delve into individual journeys and explore the expansiveness of the depicted space. The film aims to evoke a trance-like state, reminiscent of the personal experiences of the creator. The focus shifts from visual imagery to capturing the essence of being in a trance. It becomes an exploration of what it feels like to exist in a space where time and space lose their boundaries, and the driving beat becomes the guiding force. In this boundless expanse, one may question the vastness or confinement of their surroundings and the proximity of others. Solos are portrayed with individuals appearing distant yet close, creating an otherworldly sensation of unity while simultaneously keeping a distance. The concept of being grounded on Earth while simultaneously transcending it becomes a central theme. It mirrors the imagined realm of an ancestral plane or a space between reality and the afterlife. If one were to encounter their ancestors, it is envisioned as a place that is unfamiliar, yet still connected to Earth. This in-between world, neither fully alive nor dead, allows communication with one's ancestors. Such a trance-like state embodies a similar feeling—a sense of being aware of one's earthly existence while simultaneously occupying a realm that defies explanation. Despite feeling the ground beneath their feet, the soil and dust, and hearing their breathing, there exists a profound sense of existing in an entirely different dimension. London, UK

Paris, July 1892. After her breakup with Auguste Rodin, sculptor Camille Claudel lives isolated in her workshop. One night, as her grief becomes spite then hatred, Camille’s sculptures come alive and drag her into a hellish dance – to unleash her from Rodin’s poisoned stranglehold, or to bring her to the brink of madness? Director & Writer: Alice Dontenwille Producer: Charlotte Fraudet Cinematography: Cyan Jayr Editing by: Emile Marzbani Starring: Eline Vey Paris, France Paris, France

As the BBoy (breakdancer) traverses the urban expanse of Paris, he embarks on a philosophical odyssey, exploring the labyrinthine depths of the city's soul. "LE TERRAIN VAGUE" transcends mere movement—it is a composition of existence, a poignant reflection on the interconnectedness of dreams and reality. With each graceful step, the dancer becomes a philosopher in motion, navigating the delicate balance between chaos and order, light and shadow. In this ethereal dance, every gesture is imbued with meaning, every leap a leap of faith into the unknown. Rather than merely exploring, the dancer immerses himself in the essence of Paris, unraveling its mysteries like a masterful composer conducting an opus. Through the lens of black and white cinematography, the film transforms the cityscape into a canvas upon which the human experience is painted in shades of introspection and revelation. As the dancer contemplates the transient nature of existence, he transcends the physical realm, soaring to the heights of enlightenment. With each move, he embraces the impermanence of life, finding beauty in the ephemeral and solace in the eternal rhythm of the universe. Ultimately, "LE TERRAIN VAGUE" is a testament to the intrinsic connection between art and existence—a symphony of movement that resonates with the essence of being. Not just a film—it's an ode to the relentless pursuit of passion amidst the stark beauty of Brutalist architecture. It invites audiences to ponder the profound questions of existence, to dance with abandon in the fleeting moments of life, and to find meaning in the enigmatic dance of existence. Writer & Director: Harris Hodovic Producers: Harris Hodovic & Ekrem Engizek Featuring: Timothée TIM Andriamanantena Stuttgart, Germany

A gentle manifesto and a visionary work of art itself. At the heart of the film are the reflections of dancer and choreographer Siobhan Davies as she unravels the complex processes that underpin a life’s work in dance. At the same time she looks far beyond herself, touching upon the histories of movement embedded in each of us, allowing the watcher to enter a descriptive world and feel the weight of their own body - walking or turning or falling. The images in the film echo Davies’ thoughts, showing the physical fluidity and depth of movement between all things. Many of these things are from the art world - from ancient sculpture through modern artworks and personal photos. The art is seen to be both felt and material, then transformed by the dancer into something they can hold and use. “The film is called Transparent because for several years I used both tracing paper and acetate to write down notes and collect imagery. Dance involves movement and constant change and the see-through nature of my note taking helped me to experience ideas and images as less fixed in time or place but rather on the way to becoming something else or emerging out of what came before.” Siobhan Davies For Davies each interaction with a work of art is a collaboration, every cultural experience an opportunity to absorb, internalize and re-use the most precious thoughts and feelings of others. Her work with David Hinton and Hugo Glendinning is no different, turning the filming process into a choreography, intertwining three very different makers’ visions to construct a rich screen work that shape shifts between biography, lecture, exhibition, psychological study and scientific experiment. Transparent is a lucid and optimistic work, on the surface there is a delicate sense of an autobiographical narrative, but this narrative can be seen through to reveal an unfixable archive of movement and experience. Animation Editing: Noriko Okaku Cinematographer “Transparency” Part 3: Hugo Glendinning Producer: Pinky Ghundale Archive Producer: Fourth Drawer Production Assistance: Rosa Manzi Reid Sound Design: Chu-Li Shewring & Stefan Smith Additional Composition “A Lived in Circle” Part 2: Stefan Smith Sound Supervisor: Chu-Li Shewring Music: Matteo Fargion & Aisha Orazbayeva Voiceover Recording: Hugo Glendinning, Andy Franzkowiak Archive Support: Rob Prouse Distribution & Exhibition Consultant: Johanna Blair Creative Consultant: Gareth Evans Siobhan Davies Studios Executive Director: Damaris McDonald Siobhan Davies Studios Development Manager: Carrie Anne Ratcliff London, UK

Six women attempt to move forward as a collective, but their journey seems to bring them back to their starting point. They face a challenge to break free from this state of stagnation, which leads them into a cycle of chaos and harmony. This dance film is a call to reflect on society's standards of beauty and how much we relate to them. Directors & Producers: Elias Mujica Checa, Verónica Garrido Lecca, Maria Angela Talavera Tejeda Dancers: Veronica Garrido Lecca, Maria Angela Talavera Tejeda,Natalia Garrido Lecca, Haziel Gutiérrez Assen, Arianne Gubbins Drinot, Paula Peña Torres Lima, Peru

A group of dancers positions themselves between the ancient and modern ruins of the island of Crete, Greece. Drawing inspiration from its rich heritage, they craft a series of kinetic forms and patterns influenced by folk dances and Minoan frescoes. These installations, whether harmonizing with or contrasting against the island's culture, offer reflections on historical memory and the Cretan identity. Director & Producer:  Lefteris Parasyris Choreographer: Dimitra Daskalaki Music: Venus Volcanism & In Atlas Dancers: Marina Christodoulaki, Dimitra Daskalaki, Sakis Dimopoulos, Kostantinos Thodoris, Nina Kranidioti Director of Photography: Yorgos Bobolakis & Harris Doukakis Drone Operator: Aristotelis Daskalakis Colour Grading: Lyubomir Balabanov Editor: Lefteris Parasyris Crete, Greece

As its waves undulate across the planet’s coastlines, and seafoam laps the shore, the ocean offers a lesson in organic movement – untamed, and a continual source of inspiration. Yet, mankind’s relationship with the ocean threatens to clog the world’s waterways with waste and pollutants that destabilize the fragile ecosystem below. In this short film, choreographer Edd Arnold explores the relationship between humans and the ocean through dance – an ode to the majesty of our waters, and our responsibility to protect them. Set to violinist Anna Phoebe’s hymn to the sea, featuring the ethereal Trans Voices choir, two dancers intertwine at the water’s edge, tumbling across the sand towards the waves. Turning and weaving through one another and the water, the dancers are transformed to become a part of the swell. Shot over two days on the south coast of England, Arnold, along with cinematographer Ben Williams and co-director Sean Flanangan battled the waves to capture the supreme power of the water under an imposing storm. With the dancers positioned at the center of this force of nature – costumed in recycled ocean plastics – By the Sea offers a poignant statement of a fragile future that’s ours to secure. England

A screendance ritual for the presence and absence of water. This film is the first collaboration between director Katrina McPherson and choreographer Rob Heaslip, with music by Philip Jeck. The film was made in Scotland, and completed in late 2021. Water & Man premiered at Dance Camera West Festival in Los Angeles, USA in March 2022. It has subsequently been screened at ScreenDance Festival in Stockholm, Sweden; at Red Rock Screen Dance Festival, Utah, USA; and at American Dance Festivals’ Movies by Movers Festival, Durham, USA, in July 2022. Director: Rob Heaslip Director: Katrina McPherson Producer: Helen McIntosh Choreography and Dancer: Rob Heaslip Camera and Editor: Katrina McPherson Camera Assistant: Colin McPherson Costume Advisor: Alison Brown Music: Philip Jeck Production Manager: Fi Fraser Sound Design: John Cobban Bead Special: Jill Skulina Supported by Creative Scotland, Summerhall Edinburgh, Dance Base Edinburgh Peebles, Scottish Borders, UK