As the Call, So the Echo follows a young woman in conflict with her inner demons. How does she reckon with her unknown self?

Ngày Mới’ (A new day has come), is a poetic visual response to the new track “Ngày Mới” of Vietnam-based electronic band Tiny Giant. The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time. In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time. The moment of transit in the cave doubles as both childhood and adulthood come to the surface in sync, where we bend closer in proximity to the inner child, the taste of a spoonful of innocence lingering on the tongue. Deity-like characters also appear in the video. They are gods of the filmmaker’s own world turned into images, as any person can have their own interpretation of a god. In this film, God is understood as a provider of support and company, and trust is a form of custody. We trust in the things that can protect and guide us. The eyeless horses, then, appear as mascots and attachment figures that walk with the children towards the world.

Part of the choreography was initially inspired by the ‘Kitsune Wedding’ scene in ‘Dreams’ – a film by Akira Kurosawa, in combination with experimental hip hop moves and the krumping stomps, choreographed and performed by Saigon-based dancer Kim from La Différence Saigon and Hanoi-based dancer Quay Trần from Abnormal Conceptz.

A park. Two bodies dance looking for the exit. Through the tour they find fantastic and real situations. The movement will carry them forward into the next age. A labyrinthine passage from Dance in the Park.

Who are these entities of abandonment? They have never seen the light and a simple lightning strike awakens the hope of escaping from confinement.

We may imagine ourselves unaffected by the changes of contemporaneity, but the organic and the synthetic have fused. In Dark Field Analysis, we take a dive into the disconcerting strangeness of the inner self, of what often remains hidden – anatomically, psychologically and spiritually. The film speaks about the complexity of living in this world, incorporating animal forces, desire, instinct and technology.

An allegorical film based on the news photos of refugees. Reality is often more absurd and bitter than you could have ever imagined. We are inundated with images that make us jaded in a certain way and our conscience has become a casual phenomenon of our time: today it is here, tomorrow it is gone.

The film is accompanied by a performance by artist Miloushka Bokma.

Inei, meaning darkness in Japanese, is a poetic exploration of the unfixed time system known as futeijihō. The dance film unfolds against the breathtaking backdrop of Mount Yufu and is a visual and emotional feast for the senses. From the blue hues of sunrise to the dusky shadows of sunset, the film captures the shifting atmospheres and moods that accompany the passing of time.

Parades is an initiation to a mysterious pagan feast made by powerful images between fantasy and allegory. Director and choreographer Alan Lake depict a universe that is as alluring as it is disturbing.

Tales of Freedoom explores the possibility of movement through recycled materials and wild thoughts. Like a magnifying glass that reveals what’s hidden in the evident, the main character embarks on a journey through the city and a world of sensations. A naively intuitive research, exposing fear, poetry, frustration, freedom and its restrictions.

Three performers, Kawamura Mikiko, Kawaguchi Takao and Matsuoka Dai, studied three pieces of choreography by Butoh legends – Ohno Kazuo, Hijikata Tatsumi and Ohno Yoshito to replicate their works not by imitation but responded to the spirit of Butoh in contemporary ways.

A minimalist dance film by Alexander Ekman, Being Being follows a man through a series of expressive motions, portraying the ups and downs of existence. Navigating between moments of strength and vulnerability, the performer reflects the resilience inherent in the human spirit.

A contemporary myth on the genesis of the human body, the film oscillates between two distinct dimensions: an infinite black hole, where bodies exist outside linear space and time; and a labyrinthine house, where a strange decadent gathering takes place. As the dreamlike narrative unfolds, different characters go through experiences of love, enchantment, pain and death.

Almost full moon in an arid mountain landscape. A young woman waters her flowering plants. The riverbed is dried out. She is at one with her silence. When sleep enfold her on the broken earth, she is transposed home.

When Sleep Enfolded Her offers a portrait of young woman looking for tenderness in a vaste environment. A deceptively simple, choreographed dance filmed in the heart of an oasis endangered by drought.

A gateway, a threshold and a figure pausing, maneuvering his being within a misplaced frame. I dream no more I remember is a palindrome film, a mystical ritual in a magical and archaic place. An homage to the poetry of Lorenzo Calogero.

In this non-dialogue tale, set along the coast of Vietnam, a mermaid is rescued from the fish market by a fisherman. As the hero carries her back to the ocean they are joined by two seahorses. Upon her awakening on the beach the mermaid performs a sensual dance. But her joy is short-lived: the waves have other plans.