Between loads of laundry at the corner laundromat, Cooper shares the story of her gender reassignment journey. Piecing together her memories, from her childhood in a small fishing village through her tumultuous medical process, Cooper attempts to make peace with the last male imprint remaining on her body: that annoying deep voice that sticks to her skin.

In Oulton, Leeds, an old coal-mining community of over 60 houses still stands. Originally built as temporary council housing but later sold to private investors, these homes now face the threat of demolition, putting a large number of residents at risk of displacement—some of whom have lived there their entire lives. Through a combination of audio interviews and a striking visual metaphor, we uncover the stories of a tightly-knit community, their cherished memories, and the stress and uncertainty surrounding their ongoing campaign to save their homes.

Smartphones have undeniably transformed the way we live, impacting nearly every aspect of our daily lives. A crew of young dancers explore the effects of technology through a dynamic interplay between dance and camera.

In search for his identity through scootering and self-development, a young boy explores his relationship to his body and emotions. Composed of footage collected online, the film chronicles the character’s attempts to navigate his existential dismay.

‘The past is just us in funny clothes’ Mike Tyson said once. He’s right. If you already know that during the making of a film, whilst on a motorcycle trip from the Netherlands to Ghana, you will never be able to capture and transfuse all the new impressions you encounter. What do you do? You dance. Over there. And you film the dancing. Lo and behold: the new dance film by breakdance collective 155. Narrated by Joost Prinsen.

Hank does not fit in. Riding his motorcycle enables him to clear his mind. Riding over 130kmh everything turns black and white. During his nightly drives his thoughts and reality become deeply entwined.

Robbie lost two fingers to fireworks. When asked how that feels, he said: "Not everything feels like something else. How could I explain what chocolate tastes like? I can only say what it doesn't taste like: not like twigs, not like water and not like sand." GAT is about movement, bodies and feeling. It’s about what you can’t see, but feel.

Patrick is angry and wants to destroy everything. When he is forced to take a course in anger management, he meets other enraged people. An experimental therapist tries to squeeze out their brutal energy through dance. Can Patrick find a way to redirect his violent energy into something of value?

Antonia Singla was born in the suburbs of Barcelona and became deaf shortly after birth, so she learned to dance flamenco without listening to the music. At the age of 17, she revolutionized the world of flamenco, but before she turned 30 she disappeared forever from the stage.

Fifty years later, a young woman finds some old archives and is fascinated by her. La Singla seems to hide something tragic behind her gaze and transmits a passion that goes beyond dance. Why had she never heard of her?

Determined to find answers, she immerses herself in an investigation that leads her to discover that La Singla was a great success in Germany, where she was considered the best flamenco dancer in the world. Finally, she will try to find her to learn first-hand her heartbreaking story.

We Don't Dance for Nothing is a photo-montage love letter to the Filipina domestic workers of Hong Kong. This visual recreation of true memories shared by this community of 400,000 women, follows one woman's plan to run away towards her dreams, independence, freedom and the woman she loves. Captured on Super-16 amidst the 2019 Hong Kong protests, still images blend with motion dance footage to touch on the passionate street dancing of these women, LGBTQ+ themes in Hong Kong, issues of workers' rights, and the city's rapidly changing political landscape.

The Story Won’t Die by award winning filmmaker David Henry Gerson and Oscar winning producer Odessa Rae, offers a timely look at a young generation of migrant Syrian artists, from rappers and break-dancers to visual artists. An uplifting and humanizing look at what it means to be a refugee in today’s world.

Wouter is a ginger, unlike most people around him. While out on his daily jog, he daydreams of dancing a four and half kilometre run – with the help of other ginger-haired folk.

Lukács and Broersen examine the Western colonial perception of the jungle as an untouched wilderness or 'terra nullius.' The film reimagines botanical gardens in Brussels, Paris, London, and Amsterdam—places where the wilderness was once appropriated and transported to Europe. The iconic song I Wan'na Be Like You from Disney’s Jungle Book (1967) is reinterpreted by collaborators, most notably the Afro-Surinamese music group Black Harmony, offering a proud reimagining of their community’s history and future in the diaspora.

Japanese Butoh artist Ken Mai has chosen a modest life for the sake of art. He is also the father to two small girls, and about to divorce. Skeleton Dance explores themes of life and death through improvisation and association, just like Butoh dance does.

A Bird Named Mansour explores a world where dreams are broken and innocence is lost, following children who flee broken homes in search of safety. This poetic film, inspired by Maya Angelou’s words, “The truth is, no one of us can be free until everybody is free,” highlights the journey toward freedom. Filmed at London’s prestigious Somerset House, it’s a collaboration between choreographer Jordy Dik, the Dutch inclusive dance theater company Compagnie Tiuri, and the renowned Hofesh Shechter Company.

Yelda del Carmen leaves her Cuban homeland for Montreal, where she must rebuild her dance career from scratch. Before fully dedicating herself to her dance aspirations, she undertakes a unique climbing adventure in Cuba. She aims to leave a lasting imprint on history by becoming the first Cuban woman to conquer three mythical ascents.

Three people tormented by relentless anxiety and prolonged sleeplessness, slowly lose their human forms. As their condition worsens, they evolve into monsters, doomed to an eternity without rest.

Sophie, a curious and healthy eleven-year-old girl, is confined to a hospital bed under her mother’s constant watch. When she meets Buck, a cheerful nine-year-old adventurer, they embark on a journey of self-discovery and movement. As they explore together, Sophie begins to question the reality of her situation, wondering if she is truly as unwell as her mother insists.

A couple struggles to find the strength for dialogue, love and respect. They return to the beginning of their relationship and rediscover the intertwining of their roots.

In a world where translation is increasingly automated, what understanding can emerge from intuition, improvisation, and nonverbal bodily intelligence? Amid the hum of their environment, two candidates train to interpret the rhythms, patterns, and nuances of a nearby field sparrow. What starts as an exercise in empathy and attunement leads to unexpected realizations about the ‘shape’ of language.