Curation Hour

By Curation Hour This year’s Choreoscope, curated by Andreina Aveledo under the theme Rebelling is Healing, turns to movement as a form of resistance, reclamation and transformation. Centred around the experiences of women, migrants and minorities, the programme asks what it means to challenge inherited narratives and create space for stories that have too often been pushed to the margins.

Watching Gleam, the image feels almost sculpted rather than captured. The model remains almost entirely still, yet the work feels constantly in motion. What first drew you to exploring light itself as the driving force behind the film, rather than movement or narrative? The idea emerged from a technique that's widely explored: long exposure photography. I'd always wanted to experiment with bringing that language into motion.

Choreoscope describes movement as a universal language that exists beyond words. In an increasingly image-saturated world, what do you think dance film is uniquely able to communicate that other forms of film can't? Dance film communicates beyond words and conventional narratives. It is a universal language that reaches something within our core DNA, something that is part of our evolution as human beings: when we hear a rhythm, we instantly start moving.

The film moves seamlessly between physical space and a mental one, yet it never feels the need to explain itself. Even as the imagery becomes more surreal, there's a real sense of restraint. How did you find that balance, and how do you know when an image has said enough? The starting point was quite simple. The idea of a bubble emerging from Estelle’s head and travelling through the city, then into nature, came to me very quickly.

Caught somewhere between friendship and love, the uncertainty of a situationship turns into a playful exploration of desire, distance and emotional whiplash words by Isabella Bazoni In Ice Cream, attraction exists in a constant state of flux. YEONJUN moves through a relationship that never quite defines itself, shifting between intimacy and distance, desire and hesitation.

Suitcase do Brazil feels as much about architecture as it does about fashion, with Oscar Niemeyer’s buildings almost becoming another character in the film. What drew you to that relationship between fashion and space, and how did it shape your approach from the outset? The original concept came from the brand and the amazing creative director Luciano Schmitz.

Filmmaker Nina Maria Allmoslechner. By Isabella Bazoni There are very few filmmaking challenges that ask you to completely surrender control. Straight 8 does exactly that. Since launching in London in 1999, the competition has become something of a rite of passage for filmmakers around the world, built around one deceptively simple premise: create a film using a single roll of Super 8, with no retakes, no editing, no colour grade, and no post-production whatsoever.

The Programme Five days, October 2026, in Calabria: one of southern Italy's quieter corners, perched between the Apennine Mountains, Italy's largest national park, and the Tyrrhenian Sea. Up to ten filmmakers. Daily workshops with a decidedly un-industry bent. No agenda beyond attention: serious play, fresh perspective, and the space to sit with the work you never have time for. Days move between the house itself, the forests of Parco Nazionale del Pollino, and the coastline around Arco d'Enea.

The title itself, The Tree In The Wind Shouldn't Think It Is Dancing, feels almost like a riddle or a philosophical proposition. What was the origin of that phrase, and how did it become the starting point for the film? I came across the phrase while reading Prometheus by Carry van Bruggen. The passage explored the impossibility of being "freely created," arguing that whatever is created will always remain connected to the roots of its creator.

The compositions feel incredibly controlled, almost trapping the characters inside the frame. What conversations were you having with your cinematographer, Nico Schrenk, around framing, symmetry, colour, and visual repetition? Nico is great with available light and handcamera, so when we first met to speak about the project he asked my why I want to shoot this film with him. For me, it was never about a specific visual style. It was about the way he sees people.