March 1 at 8pm
​MDCA On.Stage Black Box Theatre
2901 West Flagler St 
Miami, FL 33135
 305-547-5414
March 1, 8:00PM
​Buy tickets here... www.miamidadecountyauditorium.org/event/bird-woman-by-bistoury-physical-theatre-film

​A curated screening of dance for camera short films inspired by the art of improvisation. 
​These films are characterized by unscripted scenes and improvised structures.

WITUK (8'15" Ecuador)

De la tierra ancestral nace un nuevo lenguaje que nos permite fluir en los afectos y la confianza. De la tinta quedan memoriados un conjunto de trazos que nos unen entre dos culturas alejadas por el tiempo y el espacio. Wituk es un diálogo interdisciplinario entre la danza contemporánea y el arte audiovisual. En donde la vibración del movimiento se vuelve en un nuevo método de expresión y sabiduría en el arte. 

Creación e Interpretación Mario Suarez  Victor Guatatuca  Producción Fragmentos de Junio Dirección Audiovisual Fran Bravo Cámaras Juan Carlos Castro ​

the occurrence of colours by night (5'7" Germany)

The dystopian genderfluid fashion of textile artist Sophie Lenglachner focuses on the beauty of darkness and reflective shimmers of light. The choreography of contemporary dancer Jan Kollenbach plays with the dynamic of oscillating between shadow and brightness. The textile as a canvas leaves its state as an inanimate object to conquer a ruinous industrial landscape.
​
Director Sophie Lenglachner  Producer Sophie Lenglachner, Lydia Flössel Key Cast Jan Kollenbach Camera Alexander Fricke Light Sebastian Vandrey Score Composer Johanna Schlömicher Sound Mastering Alexander Lausch Editing Solenne Drechsler Production Assistant ​Noemie Ebert

If Bistoury Physical Theatre and Film’s first part of “The Commune” constituted a search for alternative ways of being in the world and 2022’s part 2 “The Commune” presented practices of freedom, its latest did a deep dive into the existential consequences of rejecting freedom and abandoning the self.

On Thursday, Oct. 6 and Friday, Oct. 7, BFTF (the acronym by which they identify the group) performed “The Commune, Chapter 3: Fear of Freedom,” at the Miami Dade County Auditorium’s On.Stage Black Box Theatre. Miami Dade County Auditorium commissioned “The Commune.” I attended both performances and, although on different nights, the execution differed minimally.

Choreographer Alexey Taran and filmmaker Carla Forte founded the company in Caracas, Venezuela, in 2005 as an avant-garde creative platform for dance and film. In 2007, BFTF moved to the city of Miami.  The company’s projects reflect a philosophy of respect, admiration, and curiosity for the extraordinary creative movement and diversity of Latin American megalopolises.

In its latest “The Commune” chapter, BFTF laid out the psychological tics and neuroses of four people trapped in a pandemic-like form of physical and emotional isolation.

In show notes published online, the group claimed “Fear of Freedom” reflects on the thought of Frankfurt School psychoanalyst and political theorist, Erich Fromm (1900-1980). For Fromm, freedom occurs in the sphere of the interpersonal. In the practice of freedom, people aim at knowledge of what others really need which emerges only through caring and having respect for their autonomy.

People either embrace or reject their freedom, and those who reject it do so in different ways – by socially conforming or submitting entirely to powerful personalities or deepening the destructive tendencies of their isolation until they destroy their world.

Whatever the strategies they employ, the rejection of freedom initiates profound mental conflicts that can deepen into acute forms of mental illness.

BFTF’s performance opened with the theater divided into four large squares. One square contained a suitcase, another a huge pile of clothes. The two squares at the back of the stage was strewn with sheets of crumpled white paper and the last contained a potted white orchid and a box.

The show began by showing four videos of the performers – Taran, Forte, Heather Maloney and Carlos Fabian  – doing different actions like staring at their faces in a mirror, climbing a wall, shuffling through photos, hugging themselves or undressing and raising a fist.

Clips showed Forte with a box over her face and Fabian with a bag over his head.

The Christmas song, “Carol of the Bells” – a recurring musical motif of the piece – played faintly in the background.

As the film ended, the stage was illuminated by a bank of lights from the left and a timer flashed on the back of the stage and started to count backwards from 40 minutes.

In one of the back squares, Forte sat with her head covered by a cardboard box and a white orchid in her lap. She recited into a microphone statements about grief like “El luto es la Avenida principal de la ciudad” (“Grief is the main avenue of the city”) and “El luto es las memorias” (“Grief is the memories”).

Sometimes she would begin sobbing, sing scales or call out for “Gloria,” presumably a pet. At one point she dumped a box of what looked like cat litter over her head.

With his back to the audience, Taran sat in the square adjacent to Forte in the midst of huge sheaths of white paper, which he either shredded or folded up and snapped beneath his arm. His movements were erratic and robotic. At times he would snatch a tablet and launch into a pantomimed lecture or fiercely conduct Tchaikovsky’s “Pathétique” Symphony from his chair.

Occasionally he would stand, salute and declare: “Aqui por la patria!” (“Here, for the Fatherland!”)

In the square in front of Forte, Fabian shuffled through a huge pile of clothes and then frantically began dressing and undressing. At times he had a difficult time keeping his pants on while at others he stuffed more and more clothes into his shirt and pants until they clownishly bulged.

At one point Fabian kneeled and recited the “Apostle’s Creed” in Spanish before donning a red dress and leopard print jacket and running circles in his square.

In front of Taran, Heather Maloney – her face pained – hugged herself tightly or slowly ran her hands up her legs, briefly palming her face. At times she moved as if drugged.

At other moments, she would tie on a red dress and dance, pirouetting or standing en pointe before collapsing on the floor and slowly spinning in place.

None of the performers behaved as if they were aware that others shared their space. Each played out their compulsive behaviors as if entirely engaged in medicating the internal sense of deep conflict each experienced.

With the stage trashed, the countdown hit six minutes. Fabian in black jeans and black sunglasses held his phone in front of him as if beginning a FaceTime call, waving and repeating,

“Hi Everyone! Love you guys!”

As he did so, he crossed the stage and became the first performer to break from his square, crossing Maloney’s space who then danced along the full floor’s diagonal.

​At the cue, Taran hung over his chest a disco ball and bright white light then spun and danced around the theater to Laura Branigan’s 1982 pop hit, “Gloria.”

Facing the audience Forte danced and joined in with the vocals. Given the chaos on the stage, Branigan’s line, “I think you’re headed for a breakdown so be careful not to show it” hit home.

For these four characters that ship had already sailed.

Then the timer struck zero, flashed red, and the house lights went black.
After a few seconds of darkness a bright blue light streamed from the ceiling to the center of the performance floor.  As the four performers all huddled in its beam, Fabian opened an umbrella over them.

For the first time in the 50-minute show they spoke to one another in low tones and touched as a stream of what looked like snow fell from the ceiling onto the umbrella.

BFTF’s “Fear of Freedom” constituted a brilliant, risk-taking work of multimedia theater. The performers powerfully brought to life Fromm’s thesis concerning the neurotic, self-destructive mindsets that capture people in their gambit to escape the demands posed by their lives and other human beings.

The work’s closing with the four performers huddled together for protection stayed consistent with Fromm’s thesis – that only through the sphere of the intersocial can the emotional disturbances initiated by rejection of freedom be healed.

If you didn’t get the chance to catch “The Commune, Chapter 3” this time around, BFTF plans on staging it again in December, on a date yet to be determined, at inkub8, 2021 NW 1st Place, Miami. For information, call 305-482-1621.

The commune Chapter 3: THE FEAR OF FREEDOM

Directed by Alexey Taran

Presented by
Miami Dade County Auditorium & Bistoury Physical Theatre and Film 

CARLA FORTE
HEATHER MALONEY
CARLOS FABIAN
​ALEXEY TARAN

October 6-7, 8:30PM 
Miami Dade County Auditorium ON.STAGE BLACK BOX THEATRE
2901 West Flagler St 
Miami, FL 33135

Commissioned by Miami-Dade County Auditorium

“With the support of the Miami-Dade County Department of Cultural Affairs 
and the Cultural Affairs Council, the Miami-Dade County Mayor 
and Board of County Commissioners.”

Supported by 
O Cinema
Inkub8 Miami
Light Project

Miami can seem like a bright place, but in reality, it can be downright dark. For proof, you only need to see filmmaker Carla Forte's Miki Maníaco. It is a tale of celebrity, exile, and malcontent.

Miki Maníaco follows its titular character, Miki, a former children's entertainer in professional ruin following his banishment from the industry. Literally washed up, Miki lives on a tiny boat with his former professional partner and lover, Mimi. The film alternates between the couple airing their grievances adrift in the water and an E! True Hollywood Story-esque documentary project about Miki and his former fame. The film opens at O Cinema South Beach tonight, September 2.

A darker-than-dark comedy with surreal and satirical flourishes, Miki Maníaco isn't a film for everyone, but nor is it worried about pleasing everyone. The first images in stark black-and-white contrast the conventional imagery of Miami, one of sun, greenery, and neon nights. The South Florida setting was integral to Forte's vision.

Having moved from Venezuela in 2007, Forte was interested in Florida as a "state that has always been known as a place of transition and retirement for the country." Both accurately describe Miki's predicament. He is treading water, trapped in a moment of transition brought on by his forced retirement from the entertainment industry. A former performer with a slight messiah complex, he's in purgatory, awaiting salvation or damnation. Amid the angry diatribes of a "forgotten man" and existential questions from a disembodied documentarian Forte intersperses sublime scenes of striking motion such as dance, a man seemingly walking on water, and a triumphant pack of dogs. They perfectly contrast the dark humor and bitter tone of Miki Maníaco, which is ultimately a film about how systems (or industries) can discard and dehumanize people and potentially create monsters.

Central to Forte's film is a deconstruction and interrogation of the "Dream Americano" and experience of exile, rooted in her experiences as a Latin American artist living in the United States.

"In Latin America, we perceive the American Dream in a very particular way," Forte explains. "We think of it as a delusion, [one that] we can only really understand once we live in the United States."

In many ways, the film is a satire about bureaucracy and cruelty with shades of Kafka and Buñuel. Again, these overarching ideas emerged from Forte's own experience. Fueled by frustration with the constant consumption of the entertainment industry, Miki Maníaco is a therapeutic and cathartic product of confronting those ideas.

Forte's exploration of deteriorating fantasy is one of the film's most fascinating elements. It can be seen in Miki Maníaco's subversion of Disney tropes. Each of the characters' names is derived from a classic Disney character: Miki, Mini, Donalt, and even a brief cameo from an Ariel-like figure, as Forte takes abstract aim at the illusions and delusions we're fed by the entertainment industry. As a child, Disney represented an ideal world to Forte, who, as an adult, is more interested in the fragility of fantasy. Firmly believing that the perfect place does not exist, she remains fascinated by the fractures of fantasy, extending to the country we live in, which isn't as solid as we thought it was. What interests Forte is how unhappiness can masquerade as happiness.

​Miki Maníaco is a dark film, for sure — a kind of Miami Inland Empire — but it is also fascinating and singular. This is partly due to the close collaborations between Forte and her cast and crew. The making of Miki Maníaco seems to counter its own dark tale of the entertainment industry and show the possibilities of local artists working together to create art.

Working closely with Forte on the project is cinematographer and editor Alexey Taran. In 2005, Forte and Taran founded Bistoury Physical Theater and Film, a platform for avant-garde dance, theater, and film. The translation of avant-garde theater, mainly regarding movement, provides an intriguing component to the film. Forte values the partnership, saying they speak the same language.

An interesting addition to the creative team is first-time collaborator Abiram Brizuela, who contributed a musical score that provides some of Miki's haunting moments. The final piece of the puzzle is the actors, Carlos Antonio León (Miki), Lola Amores (Mimi), Chaz Mena (Donalt), and Jose Manuel Dominguez (Mailmain), who give equally frenetic and committed performances. Conveying such disgruntled and aggrieved characters requires trust between director and actor. Forte, who worked closely with each performer, says it was all about unmaking the characters — and that they had a lot of fun doing it. 

Supported by O Cinema, this project is quintessentially made in Miami and is an example of what independent film can do in the city.

In its entirety, Miki Maníaco is like a funhouse mirror. The image can be distorted and grotesque, yet you can't look away. Forte and her collaborators have crafted an allegorical tale about the warping of the American Dream, fully aware that it has always been warped.

Miki Maníaco. Friday, September 2, through Thursday, September 8, at O Cinema South Beach, 1130 Washington Ave., Miami Beach; 786-471-3269; o-cinema.org. Tickets cost $11.

DIRECTOR’S STATEMENT:
Miki Maniaco is a feature film that tells us about exile and what is disposable from the point of human view and personal relationships. As a Latin American artist, I grew up with a very local, and to a certain extent, my own conception of what the dream meant to be American; a dream that is demonstrated with: advancement, triumph, and success.
Miki Maniaco is inspired by iconic characters, those who for me as a child represented the fantasy, within a magical world where everything was possible. When I grew up and moved to the United States, I understood in a more profound and more personal way, the meaning of the “Dream Americano”, what it implies, and what is behind that search. A dream that is tied to an economic and political reality of a country.

Miki Maniaco is a feature film that plays with black humor, with fantasy and with the honesty of the characters, where there are no taboos, nor fear of saying what they feel and that they have lived As Miki characters, Mimi and Donalt want to tell and share their stories after having been forgotten, abused, banished, and discarded by a system that advances like an avalanche, where history goes into the background.

Miki Maniaco was filmed in the territorial waters of Florida, a state that has always been known to be a place of transition and retirement in the country.
​
Behind a costume, there is a story. Miki Maniaco is an irreverent critic of the use of images and their language. A way to reveal myself to the American dream and undertake the true pursuit of happiness, which goes beyond success and money.
– Carla Forte

FEMME Directed by Carla Forte @ cuadropordanza

[Sábado 18/06, Asociación Cultural Humboldt, Caracas, Venezuela ] Programa de videodanzas sábado 18 de junio, 4ta edición de #CPD2022


Dignidad | @elnicolook | Venezuela | 3:09
The end does not see | #DavideBelotti | Holanda | 10:00
YEL | @rima_pipoyan | Armenia | 3:46
COLONY | @didier.mulleras | Francia | 8:00
Werewolf Heart | @christianweberstudio + @dalelbacre | EEUU | 3:59
Femme | #CarlaForte@bistoury_physical_theatre | Venezuela-EEUU | 9:45
N E X U M | @flavia_mazz | Austria | 5:00
Co Pa Ku | @papi_rai + @agentelibredanza | Venezuela-México | 3:30
Face to face | @florentmahoukou | República del Congo | 19:54

Sábado 18 y domingo 19 de junio a las 3:00pm #AsociaciónCulturalHumboldt@asohumboldt2022

Produced by Bistoury Physical Theatre.

Supported by: John S. and James L. Knight Foundation, as part of its Knight Arts Challenge Miami 2019, FL. The Miami Foundation. Miami Light Project. Oolite Arts. O Cinema. Cultural Arts Exchange.“Con el apoyo de Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners.”

FEMME directed by Carla Forte

ScreenDance Miami 2022 Special Edition, present by Miami Light Project.

North Beach Bandshell on JUNE 9, 2022 at 8pm.
RSVP for free entry at northbeachbandshell.com

FEMME Knight Arts Challenge 2019 grated by John S. and James L. Knight Foundation @knightfdn 

Supported by: @miamilightproject @oolitearts@miamifoundation @ocinema. Cultural Arts Exchange.

With the support of Miami- Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami Dade County Mayor and Board of County Commissioners. @miamidadearts

​Produced by: @bistoury_physical_theatre 

Thanks to all our women participants: Carmen Juliana Morgado, Isolina Leon, Maritza Ortega, Adela Josefina Rios Guevara, Antonela Magaldi, Jeannina Rios, Jacqueline Elisa Delgado, Niurca Elie Marquez Concepcion, Dinorah De Jesus Rodriguez, Maria Teresa Puentes Delgado, Leysli Rodriguez, Carla Forte, Ana Figueroa, Juana Ortega, Maria Curbelo, Antonietta Lentini, Rosa Jimenez, Rosalinda Paredes, Mercedes Prieto, Alla T. 

Thanks to Francois Szony for wardrobe legacy.

Thanks to all our wonderful team @alexeytaran @niurcamarquez@abirambrizuela @carlosjp819@maritzasillie @evelgonzalez @vicenteforte_

AIR BISTURI COSTA RICA
​
​RE-MOLINO D AR-T is a platform for exchange between art, ecology, culture and society. They aim to reconnect people with nature, as well as generate and share knowledge that promotes resilience and sustainability for individuals, communities and the environment.

Residency Location: Labrador in San Mateo (Provincia de Alajuela) is a city in Costa Rica about 36 mi (or 58 km) west of San Jose, the country's capital.

More Info Coming Soon...

Una proyección de cortometrajes de danza y experimentales inspirados en el arte de la improvisación. Estas películas se caracterizan por escenas sin guión y estructuras improvisadas.

PLATAFORMA CANIBAL
7 de Mayo , 7pm
Calle 43#46-227, Barranquilla, Colombia

​TALLER DE INICIACIÓN A LA IMPROVISACIÓN TEATRAL 
DICTADO POR RON CHAVEZ​​
​April 13 / 11am - 5pm
Inkub8 / 355 NW 54th St Miami, FL 33127

Explorar los elementos de la improvisación teatral en nuestro curso introductorio. Aprenderá los fundamentos básicos y los principios de la improvisación, centrándose en varios juegos y ejercicios que fomentan la confianza, la comunicación, el acuerdo ("sí y");  escucha activa, creación de personajes,  estatus en escena y hacer que tu compañero de escena se vea bien.  Después de eso, los participantes podrán aplicar estos conceptos en escenas completamente improvisadas.​

EVOLUTIONARY INVOLUTION
Evolutionary Involution by Taimy Ramos and Alberto Gonzalez Batista
​Setback in the progress or evolution of a process.
In the past we covered our hands with soil to sow. We used to repair and reuse and lived in harmony, humans and nature. With masterful subtlety they created and introduced consumerism to our lives and this brought the normalization of the act of buying as a social concept and the erroneous idea that a greater number of material possessions is directly proportional to the level of happiness, losing all respect and gratitude for what that the earth gives us. We have become addicted to a virtual and superficial existence, totally isolated from reality. Judging and intimidating others is a source of daily entertainment, thus giving way to this state of collective apathy that we attribute to society, when in reality: you are society, I am society: We are society! Once we internalize that each individual has an essential implication in the evolution of change, we will eradicate this cycle of Evolutionary Involution from the history of humanity.

(NOT) TO BE REPRODUCED
Created and performed by Carlos Fabián Medina
"(Not) To Be Reproduced" is a performance that uses both dance and theatrical improvisation to create short representations (or reproductions) of the actor’s personal experiences. Inspired by memories, intimate spaces, songs, images, and characters, this solo piece confronts the artist with the extraordinary exercise of self-observation, reflection, and exposure. 

¡VIVA LA IMPRO!
​Show de improvisación teatral Dirigido por Ron Chavez y con la participación de artistas invitados 
¡Un espectáculo para toda la familia!
Hilarantes juegos de improvisación donde el público propone lugares, personajes,
situaciones y los que improvisan tienen la obligación de hacer reír a todos los presentes.
Un show que te dejará con ganas de más, cada función es única e irrepetible puedes ir con amigos,
​tu mamá, vecinos, amantes, o con ese match de tinder que acabas de conocer.
¡Viva la IMPRO!

​​FILM PROGRAM

A curated screening of dance for camera short films inspired by the art of improvisation. 
​These films are characterized by unscripted scenes and improvised structures.
Miami Dade County Auditorium
April 14, 2022 8:30 pm

Sala Cabrujas
Centro Cultural Chacao
Caracas, Venezuela
May 5, 2022

Plataforma Canibal
Barranquilla, Colombia

​Cinemateca Dominicana
Santo Domingo, Dominican Republic

MORE INFO

​Supported by: 
​
With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, 
the Miami-Dade County Mayor and Board of County Commissioners.
Miami-Dade County Auditorium
O Cinema
Vivian Marthell
Fábrica de Arte Cubano
Fundacion Cultural Chacao
Cinemateca Dominicana
Plataforma Canibal​
​Inkub8
Produced by Bistoury Physical Theatre and Film
​Directed by Alexey Taran and Carla Forte
Cuba Sandra Ramy
Venezuela Adriana Barrios
Colombia Jaider Orsini

​Con el propósito de dar a conocer las creaciones más recientes en el campo de la improvisación el 305 International Improv Fest 2022 regresa para presentarse en el Miami-Dade County Auditorium (MDCA) y en el centro cultural Inkub8 los días 13 y 14 de abril. Como ya es tradicional, el evento fundado y dirigido por el coreógrafo y artista multidisciplinario Alexey Taran y la cineasta Carla Forte, ofrece una pequeña muestra de proyecciones, talleres y actuaciones en vivo que profundizan en el arte de la improvisación, reuniendo a actores y cineastas de dentro y fuera de Miami.

Read more at: https://www.elnuevoherald.com/entretenimiento/article260130215.html

PERFORMANCES & SPECIAL FILM PROGRAM
305 HAV IIF 2021 - Commissioned Artists:

• ​Here by Heather Maloney. Heather Maloney is a mother, choreographer, dancer, teacher, and artistic director of Inkub8. Known for her highly expressive and kinesthetic style,  Maloney draws on improvisational structures to create state based choreographic places. Her work has been presented at Bates Dance Festival, Florida Dance Festival, New World School of the Arts and in Fundanza Cumuna Venezula Performatica, Puebla Mexico, Fusebox, Austin TX. She has taught workshops at New World School of the Arts, Bates College as well as in Brazil, Mexico and Venezuela. http://heathermaloney.org
• ​Up in the clouds by Liony Garcia Liony Garcia is a dancer and choreographer based in Miami, FL with a B.F.A. from New World School of the Arts. He has performed with BodyTraffic, Bistoury Physical Theater, Rosie Herrera Dance Theater, and Brigid Baker’s WholeProject. His choreographic works have been commissioned by Miami Light Project, The Wolfsonian Museum, Pioneer Winter Collective, and Toronto Outreach and Exchange Strategy. Liony is also a two-time recipient of the MDC Dance Miami Choreographers’ Program. His latest work Corporeal Decorum has received the National Performance Network’s Creation and Development Fund Grant, and will premiere at the Ringling Museum in Spring 2021.
• Experimental and Dance for Camera Films from Media Artists and Filmmakers from around the world

MIAMI DADE COUNTY AUDITORIUM
This performance is part of the Drive-Through Theatre Experience series.

​April 30, 2021, 8PM
2901 West Flagler Street
Miami, Florida 33135

305.547.5414
​
https://www.miamidadecountyauditorium.org/event/bistoury-physical-theaters-305-hav-international-improv-fest-21/

​FILM PROGRAM
​Experimental and Dance for Camera Films from Media Artists and Filmmakers from around the world. 

L’Appât (China, 2020, 5min)
Director Tang Chenglong
Three dancers, one kite, one hook, two cultures in one weird euphemism.

Hat Trick (Brazil, 2019, 5min)
Director Marcia Beatriz Granero, Writer Marcia Beatriz Granero, Producer Marcia Beatriz Granero and Darling Pearls, Key Cast Jaque Jolene by Marcia Beatriz 
Jaque Jolene transmutes feminine material inheritance into feelings. Jaque Jolene, a fictional autobiographical entity who sometimes inhabits the body of the filmmaker, transmutes feminine material inheritance into feelings. Drawing on the powerful potential energy of her female ancestors, Jolene is an independent woman who lives a full life. In Hat Trick, she is invited for the first time to travel to the United Kingdom. Inspired by Lady Diana, she performs a ritual when she arrives to connect herself with the new culture.

The Broken Phone Project (Netherlands, 2020, 4min)
Director Sara Europaeus, Producer Athina Liakopoulou, Director of photography Niels Lockhorst 
In the midst of the COVID-19 the streets of Amsterdam have changed, and so have the people. A group of international dance artists through a common movement task reflect the time of the pandemic- how it has affected them? A common experience but an individual interpretation. Each with their unique story, filmed individually, untouched. When so much has changed, how can we connect again?

Maria  (Belgium, 2021, 3 minutes 22 seconds)
Director Deboeur Leslie, Writer Deboeur Leslie, Producer Deboeur Leslie, Key Cast Maria Montero
Maria represents the escape, the flight, where each of us at some point in his life, is part.
It is our scorned liberties that are put forward here, our fight for a freedom of expression and a freedom to be.

I/O (Israel, 2021, 2min)
Director, Cinematographer and Editor Lyri Milo, Key Cast Hila Venezia, Original Soundtrack Yael Lavi, Art and Lighting Naama Habusha and Daniela Fridman
A micro-musical-film.
A girl lives in an indoor swamp, cozily trapped.​

The Waiting  (Argentina, 2020, 1min)
Director Nicolas Corvino Rius, Celeste Lois, Key Cast Nicolás Gabriel Chavez, Fabrizio Hercovich, Voice Over Lili Popovich, Director of Photography Fernando Lorenzale, Focus Puller Eduardo Torre Obeid, Audio Mix Nicolás Volonte, Original Music Composer Francisco Brito Evans
In these times of pandemic, we have been forced to stop our lives as we knew them, and to be away from our loved ones thinking of their good. Now loving means keeping your distance. Waiting will heal us.

On the Note of Humanity and Unity (United States of America, 2020, 3 minutes 24 seconds)
Film Director & Performer Roxana Barba, Music Jazmin Solar, Cinematographer Claudio Marcotulli,  Art Aurora Molina,  Editors Claudio Marcotulli, Roxana Barba, Production Assistant Karen Barba
On the Note of Humanity and Unity is a collaboration between Miami-based choreographer/film director Roxana Barba and Jazmin Solar, singer/songwriter living in Mexico City. The film was created in May, 2020 to the score of Jazmin Solar's piano piece during the peak of the global outbreak. The work is a tender ode to inspire inner strength, solidarity and unity. Other collaborators include filmmaker Claudio Marcotulli and visual artist Aurora Molina, whose soft sculptures connect in a playful and colorful dance.​

How long a disaster last  (Brazil, 2020, 1 minute 34 seconds)
Director Renata de Lélis, Edu Rabin, Key Cast Renata de Lélis
This material was captured in October 2019, at Moreré beach, Bahia. We wanted to speak, to translate, the despair of that environment in the urgency of the arrival of oil that plagued the Northeast coast. It was happening, it happened ... 
We've assembled the material far away, in the quarantine, wondering ... how long a disaster lasts...We just assembled the material here in the quarantine, wondering ... how long a disaster lasts …

Impulses (United States of America, 2020, 5min)
Director Niurca Marquez, Cinematography Erika Dellenbach, Editor Carla Forte, Original Music Daniella Bertoldi, Performer Niurca Marquez, Set Assistant Amber Ortega
​
Apatia (Brazil, 2020, 3 minutes 7 seconds)
Director Renata de Lélis, Edu Rabin, Key Cast Renata de Lélis, Music Rita Zart Featuring Nina Nicolaiewsky 
The current world in a moving body. Depressed, it is pulled to the ground by gravity. Angry, it has spasms. To transform itself, it mimics the mythical phoenix with sequin feathers and a mask.

Helen at Thirroul Beach (Australia, 2020, 1 minute 22 seconds)
Director Lisa Maris McDonell, Producer Proper Motion, Key Cast Helen Johnstone, Sound Lisa Maris McDonell 
A short video portrait of dancer Helen Johnstone by director / choreographer Lisa Maris McDonell. This is part of a series of short videos featuring people for whom dance is a central part of life and the places they inhabit.

One step before the paradise (Czech Republic, 2021, 2 minutes 48 seconds)
Director and Performer: Tereza Sikorova, Cinematographer: Michal Kaminski, Production: De Colt Film
The experimental dance film "One step before the paradise" is a loose paraphrase of a biblical story in which only a woman plays a role. Eva is tired of her desires and hangs around while looking for paradise at every step.​

R I S K (Russian Federation, 2021, 1 minute 20 seconds)
Director Amir Zakirov, Cinematography Kirill Vasiliev, Music Moses Boyd, Artist Amir Zakirov
Experimental visualization of the risk behind many of the dancer's moves. Symbiosis of dance and 3D graphics.

Earth Odyssey (Germany, 2020, 4 minutes 31 seconds)
Director Adi Halfin, Producer Bobbi Jene Smith, Key Cast Morgan Bobrow-Williams, Vinson Fraley, Mariko Kakizaki, Doug Letheren, Yiannis Logothetis, Rachael Osborne, Ian Robinson, Or Schraiber, Bobbi Jene Smith, Imre Van Opstal, Tom Weinberger, Leal Zielinska, Written, Composed and PerformedAsaf Avidan, Editor Adi Halfin, Publicist and Film Festival Distribution Niccolò Montanari 
Earth Odyssey was made by dancers from different continents filming themselves in their confinement with their personal phones and computers.
It was made in the first week of April 2020 while almost 2 billion people around the globe were unable to move freely due to the restrictions imposed in an attempt to prevent the spread of the CoronaVirus.

Don't Shout at Me  (United States of America, 2020, 5 minutes)
Director Joanne Barrett, Writer Lucia Aratanha & Joanne Barrett, Key Cast Joanne Barrett
A woman caught in a whirlwind to free herself from a long term controlling and abusive relationship finds, like the egg she is hard and reduced, and longs for liberation from the immediate relationship, but also from her own doubts and fears. The film is a result of movement improvisation within a predetermined structure. The choreography was highly informed by the locations and the relationship between performer and camera.

Superficie (United States of America, 2020, 2 minutes 40 seconds)
Director Sandra Portal-Andreu, Mateo Serna Zapata, Producer Sandra Portal-Andreu, Choreographer Sandra Portal-Andreu, Cinematographer Mateo Serna Zapata, Editor Mateo Serna Zapata, Composer Sandra Portal-Andreu, Performer Sandra Portal-Andreu 
A collaborative experimental work with filmmaker, Mateo Serna Zapata.
Superficie is a response to our connections between the natural and man-made world. How our haptic senses respond to environmental impulses? How does the environment react to our actions? Superficie plays with surfaces, touch, textures, movement, and sounds that are both internalized and externalized.

O CINEMA
May 1, 2021, 11AM
1130 Washington Ave  
Miami Beach, FL 33139

Supported by: 
​
With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council,
​the Miami-Dade County Mayor and Board of County Commissioners.” 

Miami-Dade County Auditorium

O Cinema

Vivian Marthell

Fábrica de Arte Cubano

Produced by Bistoury Physical Theatre and Film, Directed by Alexey Taran and Carla Forte