Dance becomes a medium where the intimate and political intersect, where gestures reflect both personal experience and the imprint of the state. Across stages of grief, hysteria, propaganda and memory, the body performs history. Television and archives reveal how ideology inscribes itself in movement, yet also how choreography shifts meaning: the stage reshapes power, and the individual body unsettles and remakes the collective one. Through the pulsation of red, reflecting desire, violence, communism, these films trace dissent and transformation. (Boris Hadžija)
Unable to sleep, a young man follows a mysterious sound through river, forest, and shadow, until he reaches the red curtains of a traveling funeral stage. The hypnotic mourning recital that unfolds becomes a dreamlike invitation into memories, rituals and lingering ghosts.
… >>>In 19th-century Paris, women at the Salpêtrière were hypnotized on stage to display hysteria. Over a century later, cheerleaders faint en masse. FULL OUT traces links between histories of mass hysteria, the body’s knowledge and how collective resonance can fracture yet also heal.
… >>>After parting, mothers turn to tears, sons to empty glass cups and lullabies to curses. The film reflects on the suffering and resilience of the Burmese people, drawing on political elements adrift for years in the ocean of opera under Myanmar’s recurring military dictatorships.
… >>>In SLET 1988, dancer Sonja Vukićević (73) moves through socialist modernist architecture, her body an archive of Yugoslavia’s last mass performance. Gestures intertwine with a girl’s 1988 diary, tracing the shift from collectivism to individualism as a new national body emerges.
… >>>CN: Sound Effects
Filmed in a single zoom-out on a DV camera, the background noise gradually fades as the shot moves from flickering pixels on a screen to the screen’s actual spatial context. Through visual and auditory exploration of “noise”, the film reveals how digital images can distort perception.