Caco, João, Mava and Rebecca follows 4 teenagers improvising with dance and movement. The camera follows each of them in long continuous shots, observing an intimate process of play and research into the body’s possible movements. The subjectivity of each dancer is made palpable through the closeness of their breathing, emphasized by the contrasting sounds of the outside world and the other dancers off-screen. As in the first part of this trilogy, Bella, Maia and Nick (2018), the film avoids building up tension and deviates from working towards an aim. Instead it explores the timespan between the already and the not yet, the time of potentiality.

In Dissonant, Manon de Boer films dancer Cynthia Loemij while the latter dances for about 10 minutes to Eugène Ysaÿe’s 3 sonatas for violin solo – a piece that holds vivid memories for her. The camera follows her every movement.A physical time limit, namely the 3-minute duration of one 16-mm film roll, interrupts the camera’s continued movement. While the dance continues, and the sound of it is audible, the screen is black during the one minute that is needed to change the film roll.During the moment that the image is in suspense, a trick is being played on the audience’s memory. Just as Loemij herself has to draw the music from her memory, the viewer can project the image of Loemij’s dancing body on the black screen when there is no image, because of the sound and the repetitive movements of her dancing. By giving the dance and film recording the time they need, the audience is faced with confused dissonance.

一幅荷兰女星西薇·克里斯黛的肖像，同时又探讨人生记忆之不确定性的命题。作者记录了克里斯黛的一段生活故事与回忆。一眼看去，这些故事似乎构成了某种人生传记，而时间过去，我们发现了传记作为一种连贯叙述的不可能性。