Părăsind Iowa cu visuri de glorie, Ali ajunge într-un club burlesc din Los Angeles și încearcă să cucerească scena cu vocea sa înălțătoare.
Un tânăr actor de teatru navighează cu greu între un rol complicat într-un spectacol muzical, o nevastă geloasă până la depresie și obsesia marelui cutremur devastator, anunțat ca iminent de toți „experții”. Însă „adevăratul” cutremur pentru el se dovedește a fi re-apariția intempestivă a propriului său tată, după decenii de absență. Manipulator și amoral, tatăl se instalează în universul fiului, confiscându-l cu totul și bulversându-i existența.
The lives of two local professional dancers change suddenly as American soldiers stop in their town hoping to be entertained in accordance with the Broadway style. Effectively, they perform up to their expectations. However, as the army men have to march northward, their moment of glory finishes heartlessly.
Evans (Louis de Funes) este conducatorul unei trupe feminine de balet. Este de-a dreptul draconic in ceea ce priveste disciplina fetelor din ansamblu, pentru ca, in conceptia sa, arta cere efort, disciplina si sacrificiu. Iar fetele trebuie sa sacrifice pe altarul artei in primul rand relatiile amoroase... Singurul barbat acceptat in apropierea balerinelor este nepotul lui Evans, Philippe (interpretat chiar de fiul lui Louis de Funes, Olivier de Funes).(d)
Assaulted by Third World outlaws, donkey-riding Rosie joins a silent drifter's search for gold.
The story unfolds in an alternate reality. Chee-Ke works for the "dance police". By the will of fate, he has to quit. For three years there is no news about the hero. But suddenly the singer Kunnei is kidnapped by the villain Bachata, and Chee-Ke is forced to go on the warpath. The policeman and his assistant must defeat the kidnappers in dance battles.
In this Pete Smith Specialties short, two professional dancers beautifully demonstrate the rumba and conga while actors humorously display some incorrect techniques for those dances.
Two lazy friends (Mimis Fotopoulos and Ntinos Iliopoulos) find a job as ice-cream vendors to pay their back rent. When they start giving ice-cream to poor children for free, their boss, incensed, chases them off, and they take refuge in a nightclub, where they disguise themselves as female dancers. One misunderstanding follows another, until the impresario seeks them out, offering them a job as a comedy routine.
This ultra-kitsch documentary goes behind the scenes at Murray's Cabaret Club, where Christine Keeler was later a showgirl.
Stories about young Ukrainian dancers and their hasty flight to the Netherlands. You see their new life as refugees. The former conservatory in The Hague is a shelter for them where they collect their lives and find refuge in their profession: dance. The formation of a new ballet company, The United Ukrainian Ballet, is an important foothold in winning back their lives. They find comfort in each other and close friendships develop. In addition, there is the great love for ballet, for the dancers the best way to express themselves.
Bill Moyers and filmmaker David Grubin give viewers a rare glimpse into dancer/choreographer Bill T. Jones’s highly acclaimed dance Still/Here. At workshops around the country, people facing life-threatening illnesses are asked to remember the highs and lows of their lives, and even imagine their own deaths. They then transform their feelings into expressive movement, which Jones incorporates into the dance performed later in the program. For this documentary, Jones demonstrates the movements of his own life story: his first encounter with white people, confusion over his sexuality, his partner Arnie Zane’s untimely death from AIDS, and Jones’s own HIV-positive status.
A synthesis of sound and movement; colourful characters dance and move in repetitive patterns to percussive and melodic elements. A combination of motion and music that is hypnotic and beautiful. At first it feels structured and orderly but as more elements are added becomes quixotically expressive.
Hear the Lama band, see the sacred dances: welcome to Sikkim, in the shadow of the Himalayas.
Two young strangers meet in Naples and begin to flirt and dance in the street.
Chicago After Midnight (1928)
The motions and gestures of military riot police, slowed down while performed by dancers, are surprisingly beautiful. Menace and violence estranged from context and time looks eerily strange, and all too familiar. In this gallery piece, Isaac Chong Wai somehow anticipates, a year early, key images of the Hong Kong protests.
Soon after the VE Day celebrations, there is a second chance to let the hair down, and these dancers make the most of it with much humour.