Each week a new film will debut on Mondays at 9:00 AM PST/12:00 PM EST. The films can be seen at the films.dance website, on their Instagram account and their Facebook page. The first film debuts on January 25th and the last film debuts on May 3rd.

Here is an overview of the line-up:

Kaduna – January 25th

Brothers Victory and Marvel Ebinum are filmed in their homeland of Nigeria and explore family bonds. Kaduna was directed by Ridwan Adeniyi and Jacob Jonas with choreography by Vinson Fraley. This is one of my favorite films in the festival.

Toke – February 1st

Danish dancer Toke Broni Standby stars in this film set in London. Toke was directed by NONO and choreographed by Stuart Shugg.

Pássaro Distante – February 8th

Four dancers, Luís Fernando, Jovani Furlan, Luanna Gondim and Maitê Nunes, reunite in Joinville, Brazil just after the pandemic hits. Gabriela Mo directed the choreography is by Cassi Abranches.

Match – February 15th

This wonderful and thoroughly entertaining film finds 46 dancers from 20 different countries performing the work of five choreographers. Together one seamless piece of dance is created through precision editing by directors Peter Walker and Emily Kikta. The choreographers are Kikta, Jamar Roberts, Oliver Starpov, Peter Walker and Xin Ying.

Edging Normal – February 22nd

Dancer Desmond Richardson, who, along with Dwight Rhoden founded Complexions Contemporary Ballet, stars in this film directed by Andre Bato and choreographed by Jacob Jonas.

正念 – NOW – March 1st

Solo dancer Li Kehua (Lico) stars in this film from director Robin Mahieux and choreographed by Gypsy Snider. The film is set in China.

Dadu – March 8th

The town of Spaarnwoude in Northern Holland serves as the backdrop for this film starring and choreographed by Jesse Callaert, Mikaela Kelly, Kele Roberson and Annika Verplancke. The film is directed by Ian Robinson.

Another Serious Dance Film – March 15th

As the British might say, Another Serious Dance Film takes the piss out of dance films. This tongue-in-cheek pieces examines all the trappings of making a dance film. New York City Ballet’s Sara Mearns stars in the film which was directed by Ariel Schulman and Henry Joost. Andrea Miller choreographed. The film features a score by Antonio Sánchez.

Same Sky – March 22nd

Joy Isabella Brown, Miguel Alejandro López, Mike Tyus and Jill Wilson – all members of Jacob Jones The Company – star in this film by director Andy Hines. Rauf “Rubberlegz” Yasit choreographed.

Sit Still – March 29th

Seven-year-old Adeline Kerry Cruz Krumps her way through this film by Vincent René-Lortie and choreographed by Russell “Gutta” Ferguson. When Cruz gets older, and if she can sing, perhaps she can play Matilda in Tim Minchin‘s musical.

Galope – April 5th

Gonzalo Garcia, principal dancer with the New York City Ballet, stars in this film directed by Nur Casadevall. There is no choreography credit in the press materials, so it is probably safe to assume Garcia created the movement himself. The music is by film composer Alex Somers (Captain Fantastic).

Xeno – April 12th

Mexico City dance company Nohbords founder, Diego Mur, choreographed this film starring two circus artists from Montreal: Natasha Patterson and Sabine van Rensburg. The film is directed by Amy J. Gardner

Torn – April 19th

Three dancers with State Ballet Hanover – Conal Finn Francis-Martin, Robert Robinson and Jamal Uhlmann – battle for dominance in this film from director Torben Loth. The choreography is by Waddah Sinada.

Plume – April 26th

Animation and dance are combined in this film from Beren D’Amico (who also did the animation) and Francisco Cruz. Violinist Hilary Hahn performs the score as 21 acrobats are shown performing. They are Tia Balacey, Kristián Mensa, Aurélien Oudot, Kevin Beverley, Joy Isabella Brown, Kaisha DW, Seirian Griffiths, Beren D’Amico, Luca ‘Lazylegz’ Patuelli, Nic Walton, Quentin Greco, Yvonne Smink, Brin Schoelkopf, Keaton Hentoff-Killian, Sadiqua Bynum, Francisco Cruz, Mathieu Forget, Daniel Liddiard, Chernih Denis, Louis Gift, Dominic Cruz.

Weakness of the Flesh – May 3rd

Jacob Jonas (the person, not The Company) choreographed this film featuring his company’s Emma Rosenzweig-Bock. He co-directed with Kevin McGloughlin.

Photo: Joy Isabella Brown in Plume (Photo courtesy films.dance)

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Laurie Anderson: All Things I Lost in the Flood – The Wallis Annenberg Center for the Performing Arts

April 20

Performance artist Laurie Anderson brings his one-woman show to the Wallis Annenberg Center as part of the Library Foundation of Los Angeles’ ALOUD Present Program. During the course of the evening Anderson will take the audience through the trials, tribulations and successes and failures behind many of her creative endeavors through the years.

In addition to this appearance, Anderson has just released a new CD entitled Landfall. On the recording she collaborates with the Kronos Quartet.

Complexions Contemporary Ballet – Dorothy Chandler Pavilion

April 20-22

This two part program begins with a brand new work called Bach 25. It not only features the work of Johann Sebastian Bach, but in these performances in Los Angeles, the company will be joined by Complexions co-founder Desmond Richardson.  The second part of the program is Stardust a 43-minute “Ballet Tribute to David Bowie.” Both works were choreographed by Dwight Rhoden. We spoke to Rhoden about Bowie, Richardson and the work of Complexions. You can read that interview here.

Alvin Ailey American Dance Theatre – Segerstrom Hall

April 20-22

Nine different works will be performed by the Alvin Ailey American Dance Theatre during their shows at the Segerstrom Hall in Costa Mesa. Amongst them are Stack-Up, Mass, Ella and In/Side. The choreographers represented include Alvin Ailey, Robert Battle, Talley Beatty, Twyla Tharp and Billy Wilson. The music includes works by David Byrne, Ella Fitzgerald, Earth Wind and Fire and Nina Simone.  We spoke with dancer Yannick Lebrun about his work with the company. You can read the interview here.

Belleville – Pasadena Playhouse

April 22 (official opening) – May 13

In Amy Herzog’s taut 90-minute play, an American couple living in Paris, newly married, finds their relationship is already starting to crack. Can the newlyweds withstand the pressures they are facing? Do they really know each other well? And what do they make of their neighbors who are also their landlords? Thomas Sadoski (Life in Pictures and the Broadway production of Other Desert Cities ) and Anna Camp (the Pitch Perfect movies ) star as the couple. Moe Jeudy-Lamour and  Sharon Pierre-Louis are the neighbors. Jenna Worsham directs.

Our Name Is Barbra – Catalina Bar & Grill

April 22nd

This annual fundraiser for Project Angel Food is celebrating its 20th year of singing the songs of Barbra Streisand. With 35 studio albums, 9 compilations, 7 live records and 15 soundtracks, it’s no wonder an event like this can last 20 years. Amongst the performers this year are Andrea Marcovicci, Ilene Graff & Ben Lanzarone, Artie Butler, Melanie Taylor & Terry Wollman and Kiki Ebsen. And if you think maintaining a fundraiser for 20 years is a big deal, just check out this little note they received last year:

Colburn Gala Concert – Walt Disney Concert Hall

April 22nd

When conductor Michael Tilson Thomas recently performed with the San Francisco Symphony at Walt Disney Concert Hall, it was his last performance with the orchestra in Los Angeles before the end of his time with that organization. What wasn’t mentioned is that it wouldn’t be his last performance this year. Though he isn’t conducting his own orchestra, he will be leading the Colburn Orchestra in a performance of Mahler’s Symphony Number 1 in D Major, “Titan” at their Gala Concert on Sunday night.

In addition to stepping on the podium for this concert, Tilson Thomas will be receiving the 2018 Richard D. Colburn Award. Also being honored this year is architect Frank Gehry.

Colburn Orchestra Photo by Matthew Imaging

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I spoke with Rhoden about Bowie’s influence on him, the work he does with the company and about Richardson performing this weekend here in Los Angeles.

You told Newsweek Magazine that Bowie, for you, “was the visual before the vocal.” Given how meticulous Bowie was about his visuals, how do you go about making new visuals to accompany his music?

I think it’s more his personality, his personas and the energy of the music. I don’t really remember the videos so much. I remember certain live performances of him and how he moved about the stage, but more about the energy he would bring into the room he was in. How he encompassed the mood of the song or delivered the lyrics to the audiences was a big inspiration. He was very expressive and exposing. He was a very authentic artist and very truthful, at least that’s my interpretation.

The Joffrey Ballet had success with Billboards, which was set to the music of Prince. Complexions has a new work set to Annie Lennox’s version of “Summertime.” What is it about androgynous/sexual/chameleon-esque performers and their music that lends itself to dance?

I think that it just speaks to me because that was the time I was coming into my own. The androgyny of Bowie and certainly Lennox was attractive because it was all about being your authentic self and not being afraid to be different. I have always felt with someone like David Bowie, and this is my interpretation, he didn’t really care what people thought. For me this is really a love letter to Bowie and his music – to his work. I just was really attracted at all times to making it work.

Your company is made up of people who didn’t grow up with the same Bowie presence as you and Desmond have. How did you go about informing them about Bowie and his work?

Absolutely, but now they are huge fans. Most of them are too young. What I did was I kind of introduced them. Many had heard of him or heard “Let’s Dance” or “Fame.” But they didn’t really associate him with 40 years of making music and how he really jumped from genre to genre without any problem. They love to perform this piece because it’s very theatrical. You can be somebody else. For me, I always feel like there’s a little Bowie in all of us.

But is there one David Bowie? Is the Bowie of Ziggy Stardust the same Bowie of Absolute Beginners?

That’s a good question. I think they are all different parts of himself and I think he had many layers. I think he was a complex man. In the production there are about seven different figures who lead the songs. That was really fun to jump from piece to piece. This is just a one-act work at this point. It was tough to pair down the playlist.

Desmond Richardson is performing as part of these shows in Los Angeles. How often does he still perform since he stopped touring?

He’s alive and well and a phenomenal artist. He is performing in the other work, Bach 25, which is a brand new Bach work. He performs here and there. It depends on our schedule. He’s very busy running a company, but he is still in shape and a beautiful artist. He’s one of those guys who has taken amazing care of himself and he’s in tip-top shape.

In a 2011 interview you said that fusion was the future of dance. Since then multiculturalism has been and is being more and more embraced. Multiculturalism is one of the foundations of Complexions. Is fusion a by-product of multiculturalism? And vice-versa?

I think so. It’s also my outlook on the world and how I’d like to see it. We started, Desmond and I, with one idea: to bring these seemingly different qualities and put them under one roof and watch them complement and celebrate each other. Complexions did that from day one and we are still doing it. With the company, the cast, the subject matter we work in the music and the movement and all those things are sending a simple message that has to do with unity and the beauty of differences. It would be such a boring world if we were all the same.

Bowie once said “From my standpoint, being an artist, I want to see what the new construction is between artist and audience.” Do you share that sentiment and if so, how do you see Complexions moving forward with their audience in the next ten years?

I want the work to be relatable. I want the audiences to see themselves on stage or be inspired or moved by the energy or even the subject matter. It could be something that could be disturbing to an audience member, but they are touched. It’s important we touch them. It’s important the audience is involved in the work. They don’t have to like it, but I want them to be moved one way or the other. Complexions is not afraid to entertain you. Hopefully you walk out of the theatre with a little bit more of something. A discovery. Something that it touches in your heart or your soul. Then I feel like we’ve done what we should have done. As Alvin Ailey said, “dance came from the people and should be delivered back to the people.” I echo that sensibility.

Production Photos by Hagos Rush

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