Founded in 1979, City Contemporary Dance Company (CCDC) is Hong Kong’s flagship contemporary dance company. With a legacy of over 200 original works, CCDC embodies the city’s dynamic spirit through bold, imaginative, and boundary-pushing performances.
Under the artistic direction of Sang Jijia, the Company continues to pursue excellence in contemporary dance, explore interdisciplinary collaborations, and foster international cultural exchange. Through worldwide tours and local festivals, CCDC showcases the strength of Hong Kong dance on the global stage while presenting the diversity of contemporary dance to local audiences.
跳格——
香港國際舞蹈影像節
Jumping FramesHong Kong International Movement-image Festival
‘Jumping Frames - Hong Kong International Movement-image Festival’ (Former ‘Jumping Frames - Hong Kong International Dance Video Festival’), presented by the City Contemporary Dance Company (CCDC) since 2004 is the only festival of its kind in Asia, committed to promoting the intersections between performance making and moving image, cinechoreographic interventions and the body.
This frantic world is undergoing dramatic transformation—division, reboot, and technological leaps. I believe there is no better time than now for "Jumping Frames" to ride the tide. This year, with the theme "Time Machine", we will embark on a time-traveling journey through light and shadow, exploring a century of dance film evolution with our audience.
For the 2025 "Jumping Frames" programme, we have curated a series of retrospective screenings, spanning avant-garde dance films from the early 20th century, works from the inaugural "Jumping Frames", and innovative experimental contemporary digital works. This is both a tribute to screendance history and a reflection on today's shifting social landscape: in an era of rapid technological advancement, how do we reinterpret memory and imagine the future through bodily movement?
In this time of division and reboot, "Jumping Frames" is not just a festival; it is a time machine that allows us to traverse light and shadow and rediscover the infinite possibilities of the body. We warmly invite you to join us on this screendance journey that bridges the past and the future.
Not long ago, a German director shared his story that left a profound impression on me.
During the pandemic, he made a film about the sense of absence and emptiness in a grand opera house—shooting entirely on 16mm film. His deliberate choice not to convert it to digital was both simple and radical: anyone who wants to experience his film must be physically present in the cinema.
This story resonates deeply with me. Cinema screenings and live performances are pilgrimages of time and space—collective experiences that remain essential to our artistic practice and our festival-making, whether it's intimate viewing of Terayama Shuji's work on 16mm, experiencing the 35mm projection in Broadway Cinematheque, or witnessing Choy Ka Fai's lecture performance exploring live and virtual avatars in person.
As we traverse from 1900 to 2025 in this year's programme, we explore the ongoing intersections between performance-making and moving images across different formats and time. In this new era dominated by AI and virtuality, I find myself drawn more urgently to the visceral nature of human connections—the spiritual encounters, the liveness of shared experience as well as the physicality of the medium itself. I shared the German director's insistence—some things are worth being present for. This is the essence of Jumping Frames Time Machine 2025.
Jumping Frames Time Machine: Revisiting the Inaugural Impulse
Twenty-one years after Jumping Frames first emerged, these four works from 2004 resurface as unintentional time machines—artifacts that transport us not just to Hong Kong's past, but to the festival's own genesis. Returning to these early experiments reveals how intuitive the pioneering spirit was, and how these early explorations laid the groundwork for the collaborative alchemy between dance artists and video makers that would propel the festival for decades to come.
Alienation offers the most visceral time machine experience, preserving Hong Kong's 2004 cityscape through Yuri Ng's frantic urban wandering across familiar yet disorienting terrain. The film speaks to alienation as both intimate wound and urban condition—one that has only deepened in the intervening decades. Ambiguity unfolds as wordless dialogue between two bodies navigating abandoned architecture, triggering a haunting sense of relational precarity. dancescape@margin@beijing confronts the anxiety of living in a loop within repetitive and mundane environments—a meditation on authenticity and belonging. Finally, 10 Nights Rehearsal Note captures a body suspended in temporal limbo, where the abandoned campus becomes a repository for institutional memory, personal and collective histories converging in fragments.
These works remind us that time machines don't merely transport us backward; they illuminate how past and present intermingle, how yesterday's gestures continue to reverberate through today's bodies. The dancers captured in 2004 persist in motion across two decades of festival programming, their movements echoing through time. In revisiting these inaugural impulses, we discover not nostalgia but the enduring relevance of questions about identity, space, and temporal experience—questions rendered visible through bodies in motion and time-based media.
A thirty-something midlife crisis unfolds as a frantic escapade in a city that appears both familiar and disorienting. In an effort to escape from himself, the urban dweller portrayed by dance artist Yuri Ng, attempts to break all physical and metaphysical boundaries by wandering around the city in the most unconventional manner. The film acts as a time machine, transporting us back to the cityscape of Hong Kong in 2004, conjuring an alienated universe created by the renowned French video artist Seba Lallemand.
Dance artists Mui and Wai Mei took an improvisation journey through an abandoned mansion with the cinematographer, starting an intuitive dialogue with the space, sound and the ambience. Full of obscurity, their performance symbolised the ambiguity and ambivalence of interpersonal relationships.
Life is a repetitive cycle of daily routines, reading stories reprinted in newspapers, feeling disoriented among identical cookie-cutter buildings... losing track of one’s existence, or perhaps, being pushed towards the margin, far from reality.
Beijing—is the homeland, yet alienated. Our romanticized metropolis is their place of refuge. We, who gaze from afar, and they, who live there up close, belong to two different worlds, and yet... Everything feels strangely familiar.
A fragment of familiar memories is found, misplaced in an abandoned campus, where a shaken body recklessly flees to escape. She is trapped in time, before she could run away.
"I work in between the cracks, where the voice starts dancing, where the body starts moving, where the images start appearing, where the sound starts coming... I work in between.”
This mesmerizing feature film does not have a narrative set in place; rather, it invites you on a surrealist ascent into a world of silhouettes and symbols. Patrick Bokanowski, French filmmaker and artist, has developed a manner of treating filmic material that crosses over traditional boundaries of film genre: short film, experimental cinema and animation. He challenges the idea that film must essentially reproduce reality, using techniques that convey a subjective mental vision and explore artistic possibilities. L’ANGE could be described as a spiritual quest that doubles as a study of optical illusions. The climbing of an immense staircase arranged upward reveals a distinct sequence that seems more mythic than literal. Symbolic scenes occur on different levels where the characters seem to be prisoners of their deeds and of their own folly. The steep staircase leads little by little towards the zones of great light, almost a spiritual ascension, where human beings and nonhuman beings meet.
As a surrealist masterpiece, L’ANGE was played non-stop in a Tokyo art house cinema for almost ten years.
Fantasporto Fantasporto - Porto International Film Festival (1983)
2009 年鹿�丹影展 International Film Festival Rotterdam (IFFR) (2009)
The Trio Hall is a satirical spectacle, drawing us into the orbit of two visual cultures at the ultimate crossroads of entertainment, escapism and ideology: the romances of the ‘Three Hall’ cinema of the 60s and 70s (made famous by Chiung Yao & Co) and the TV and variety shows of the 80s.
Originally conceived as a “cinematic exhibition” or “exhibition cinema” project at the Museum of Contemporary Art Taipei in 2023, the first Taiwanese feature film to be exhibited, filmed, and produced in a museum setting. Blurring the boundaries of artistic mediums and genres, this eccentric work combines variety-show aesthetics with feature-film storytelling.
In the most inhospitable of places—the flat, bleak expanse of shingle facing the Dungeness nuclear power station—British artistfilmmaker Derek Jarman created a breathtakingly beautiful garden, which became the setting for this film. Starring Tilda Swinton as Madonna, this uniquely kaleidoscopic work loosely reimagines the story of Christ's crucifixion, replacing the figure of Christ with a gay male couple as an allegory for the suffering endured by gay men during the AIDS crisis and their ostracism by society. The film explores sexual repression, homophobia, and religious iconography through Jarman's distinctly personal lens.
英國 UK
1990
95' �� English
無字幕 No Subtitles
導演 Director
Derek JARMAN
1989 年莫斯科國��影節 17th Moscow International Film Festival (1989)
2019 年柏林影展 Berlin International Film Festival (2019)
博物館狂舞夜
DuEIs
百�滙�影中心
Broadway Cinematheque 21/11 [ 五 FRI ] 9:40 pm
《博物館狂舞�》是瑞典著名導演 Jonas Åkerlund 創作的一部舞蹈�影 。 Åkerlund �為
Madonna 、�石�隊、 Beyoncé 、金屬�隊和 Paul McCartney �當紅歌手��隊拍攝 MV ，並�獲 殊�，包括憑藉 Lady Gaga 的《 Paparazzi 》 MV �獲 MVP A 大�。本�以挪威�維卡 Nagelhus
DuEls is a dance film b y the r enowned Swedish director Jonas Åkerlund. Åkerlund has directed music videos for Madonna, The Rolling Stones, Beyoncé, Metallica and Paul McCartney, among others and received prestigious prizes such as an MVPA win for the music video for Lady Gaga’s Paparazzi. The film is based on Nagelhus Schia Productions’ successful dance performance, choreographed by French/Belgian choreographer Damien Jalet and Icelandic Erna Omarsdottir first presented at the Vigeland Museum in Oslo in 2020.
Through a series of short and visceral vignettes performed in the form of a tour performance through the museum, the dance contributes to release the concentrated energy in Vigeland's iconic sculptures.
挪威 Norway
2024
60'
無對白 No Dialogue
導演 Director
Jonas ÅKERLUND
2024 年冰島雷克雅未克國��影節 Reykjavik International Film Festival (2024)
In this musical set in a French nightclub, choreographed song and dance routines -- rather than a streamlined narrative -- tell the story of Parisian culture and politics from the 1920s through the 1980s. Dance moves, music and fashion mark the passage of time. A disparate, anachronistic series of characters, including an ordinary waiter, a Nazi collaborator, resistance fighters and 1960s student protestors gather to celebrate and parody 20th-century France's icons, demons and social changes.
法國 / 義大利 France/ Italy
1983 112'
無對白 No Dialogue
導演 Director Ettore SCOLA
1983 年柏林影展 Berlin International Film Festival (1983)
22/11
5:40 pm
百�匯�影中心
情牽探戈
The
Tango Lesson
22/11
[ 六 SAT ]
7:45 pm
百�匯�影中心
Broadway Cinematheque
一名女性�影創作人在�寫劇本�陷入創作瓶 頸，卻意外在探戈中找到�的��與方向。她拜
巴黎的阿根廷舞者 Pablo 為師，兩人訂下約定―― 他讓她成為探戈舞者，而她則讓他登上銀幕。
Pablo 信守承諾 ，二人在舞台上共演一段絕美的探 戈。�而，當她帶�鏡頭走入布宜諾斯艾利斯的 街頭，創作與�感的界線漸漸模�――當靈魂� �主導，該如何學�追�？
Sally Potter 以�的手法交織現實與幻想 ，讓一場 探戈課�為通往多重現實的門。濃烈色彩與冷� 黑白的對比，開�了夢與當下之間的裂縫。如
Delacroix 的畫作 《雅各與天使摔跤》般，她在放 手與掌控之間，掙扎、對�、也尋覓自我。
The Tango Lesson is about a female filmmaker who discovers and falls in love with the tango. Between bouts of writing a screenplay for Hollywood—with which she grows increasingly dissatisfied— she places herself under the tutelage of Pablo, an Argentinian tango dancer living in Paris. As the lessons proceed, they strike a bargain: if he will make her a tango dancer, she will make him a movie star. He fulfills his part of the promise when they perform together in a mesmerizing show, but her attempt to create a film with Pablo in the passionate streets of Buenos Aires exposes the intricate tensions at the story's heart—how do you follow when your very soul demands to lead?
Sally Potter weaves a genre-defying tale where a female filmmaker's tango lessons become passages between different dimensions of reality. The contrast between her lush, technicolor screenplay and the stark black-and-white reality creates a visual portal where past dreams interweave with immediate experience. Like Delacroix's "Jacob Wrestling with the Angel"—a painting that haunts her journey—Sally grapples with eternal forces of surrender and control.
/ 法國 UK / France
Subtitles 導演 Director
POTTER
Sally
1997 年威�斯影展 Venice Film Festival (1997)
在隱退多年�，昔日的美籍華裔傳奇舞者余金巧 加入「都�街舞團」，重�闊別已久的舞台。以
Chinatown Cha Cha
SAT ] 9:40 pm
92 歲高齡 ，她�自己的每場表演都視為告別演 出。作為舊金山唐人街�金�代的�歷者，舞團 這群�旬至九旬的美國華裔舞者再�走上巡演， 從美國、古巴，�終抵達祖先的故鄉中國大陸， 實現她們一�未�達成的尋根之旅。本�不單紀 錄余金巧的舞蹈人生，更包括她與丈夫兼舞伴 Stephen King 的��故事與生活點滴 ，為這部紀 錄���了��的一面。
At the remarkable age of 92, Coby Yee, a former starlet and owner of the illustrious “Forbidden City Nightclub”, reclaimed her place in the spotlight with the senior dance troupe, Grant Avenue Follies. These dancers, as the second or third generation of Chinese immigrants in America, aged between 70-90, witnessed the rise and fall of the luminous nightclub era of San Francisco’s Chinatown. Together they go on a tour for the last time, bridging once isolated Chinese communities in the US, Cuba and China. The film is a beautiful tribute to Yee's life and legacy, including the love story with her husband and dance partner, Stephen King, which sustained her and provided a tender layer to the documentary.
2024
/ ��� / ⻄��� English / Putonghua / Spanish
Chinese & English Subtitles
導演 Director
楊圓圓 Luka Yuanyuan YANG
�舞 Choreographer 余金巧 Coby YEE
2024 年平�國��影展 Pingyao International Film Festival (2024)
2025 年遠東烏烏甸��影節 Far East Udine Film Festival (2025)
In a dilapidated former Arctic research station, the captive Creature has been conscripted into a military experiment. Amidst the harsh conditions and inhumane treatment, he finds solace and love with a cleaner named Marie, leading them both to dream of escaping their dystopian reality with a tragic end.
Based on the acclaimed English National Ballet production, choreographed by Akram Khan, directed by Academy Awardwinning director Asif Kapadia , Creature is a genre-busting collaboration that fuses film and contemporary dance.
One of Spanish cinema’s great auteurs, Carlos Saura brought international audiences closer to the art of his country's dance than any other filmmaker, before or since. The first of Saura's flamenco trilogy, the film revolves around a dance company performing a flamenco adaptation of Federico Garcia Lorca’s play, Blood Wedding a tragic story about a bride torn between her arranged marriage to the bridegroom and her true love. She eloped with her lover on the wedding night, leading to a fatal confrontation where the lover and the groom killed each other. Starring and choreographed by legendary dancer Antonio Gades, the film features thrilling physicality and electrifying cinematography and editing—colorful paeans to bodies in motion as well as to cinema itself.
A documentary that honors the underrecognized avant-garde artist’s prolific output and celebrates her singular vision. Meredith Monk – composer, performer, and interdisciplinary artist – is one of the great artistic pioneers of our time. The film serves as a mosaic of her original and influential work, featuring her unique sound and imagery, and covering interviews with artists like Björk and David Byrne.It explores her six-decade career, her struggle for recognition in a male-dominated art scene, and her current challenge of entrusting her masterpieces to a new generation of artists. Monk has been directing and performing in all of her music theater works, now, in the midst of her latest creation, Indra's Net embracing her 80s that fostered her profound awareness of mortality as an inevitable part of life, she must learn to let go and consider what will happen to her works after she is gone?
Choy Ka Fai is a Berlin-based Singaporean artist. His multidisciplinary art practice situates itself at the intersection of dance, media art and performance. Through research expeditions, pseudo-scientific experiments and documentary performances, Ka Fai appropriates technologies and narratives to imagine new futures of the human body.
Ka Fai’s projects have been presented in major institutions worldwide, including Sadler’s Wells (London), ImPulsTanz Festival (Vienna) and Kyoto Experiment (Japan). He was the resident artist at tanzhaus nrw in Düsseldorf (2017 – 2019) and Künstlerhaus Bethanien in Berlin (2014 – 2015). Ka Fai graduated with a M.A. in Design Interaction from the Royal College of Art, London, United Kingdom.
“How can humans become a kind virtual existence in this age of accelerated digital culture? Is this phenomenon an ultimate reflex of our solitude? I wonder if our physical self is totally transforming into a kind of extreme self, one that blurs into a crescendo of emojis.”
Sometime I See the Future is a lecture performance exploring the worlds of cosplay, solitude and digital entertainment. The project discusses the notions of telepresence in the age of extreme self, and researches into the act of cosplaying. Cosplay is used as a lens to undertake a critical inquiry into our posthuman worlds and how we consume emotional realism online.
The conceptual nature of the performance is made with the intention of multiplicity. Embracing the virtuality of future entertainment allows anyone to be embodied by anyone, it is an extreme self portrait of everyone. Let’s all dance together to the end of every metaverse :)
���� 50 ��,����,����
The performance is approximately 50 minutes, conducted in Cantonese with English subtitles.
概念、導演、文本�視覺設計 Concept, Direction, Text and Visual Design
徐家輝 CHOY Ka Fai
詮釋、�現�演出 Interpretation, Embodiment and Performance
RomaEuropa Festival Rome 和 BIT Teatergarasjen Bergen �持�作， 並� Alliance of International Production Houses �持��國聯�政��化��體專員�助。 此����� Eaton ���留�劃�持，並� 2025 年跳格��國際��� ���作�現。
* Sometimes I See the Future was original created as a theatrical performance. And now adapted for touring as a lecture performance version. A production by Choy Ka Fai, co-produced by tanzhaus nrw.
The project development was supported by RomaEuropa Festival Rome and BIT Teatergarasjen Bergen. Supported by the Alliance of International Production Houses, funded by the the German Federal Government Commissioner for Culture and the Media
The current adaptation is supported under Eaton Hong Kong Residency in collaboration with Jumping Frames Hong Kong International Movement Image Festival 2025.
Born in 1935 in Aomori, Shūji Terayama was a poet, playwright, novelist, filmmaker and photographer. He was among the most broadly influential and innovative figures active in the post-WWII Japanese avant-garde. In 1969, he formed an experimental theatrical troupe Tenjō Sajiki, which won critical acclaim and toured internationally. On the cinematic front, Terayama was a revolutionary pioneer. He frequently placed autobiographical influences within his surreal and fragmented films, while his films and dramas were often interconnected, forming an eerie and imaginary world filled with dreams of erotic fantasy and escape. Terayama published almost 200 literary works and over 20 short and full-length films. He passed away in May 1983 at the age of 47.
“Stand a pencil vertically before you. Walk ninety-nine paces in the direction the pencil’s shadow lies. Close your eyes. If there is a door there, knock. That will be the entrance to Shadowland.”
Ellen Pau (born in Hong Kong in 1961) is one of the earliest pioneering video artists in Hong Kong. Beyond artistic creation, she is known for her influential contributions to the development of video and media arts in the region, through the founding of several important initiatives, including the city’s oldest video artist collective and archive for media art, Videotage, in 1986. Pau also founded Microwave International New Media Arts Festival in 1996. She has collaborated with Zuni Icosahedron since the 80s and began her interest in exploring performative video and choreographic gesture in her video works. Her works have been exhibited locally and worldwide in film festivals and art exhibitions. In 2001, Recycling Cinema one of her most significant video installations, was presented at the Hong Kong Pavilion in the 49th Venice Biennale.
Katrina is a director, cinematographer and award-winning screendance artist whose creative, scholarly and educational practice is at the forefront of the international field. Having trained as a dancer and choreographer, a desire to explore the creative possibilities of dance and the moving image led Katrina to complete a postgraduate degree in video art, laying the foundations of what would become a lifelong, multi-faceted and influential engagement with dance on screen. Over the past 35 years, Katrina’s collaborative films, installations and online works have been presented at venues and festivals worldwide. For 15 years, Katrina worked as a director of arts programmes for UK television. A much sought-after lecturer and mentor, Katrina teaches screendance worldwide and has initiated and facilitated numerous workshops, courses and symposia. Katrina is the Course Leader of the MA Screendance at London Contemporary Dance School.
Mouvement Perpétuel
Mouvement Perpétuel 成立� 2001 年，是蒙�利爾的一家獨立製作�司，專門 製作�影、視頻和���，尤其是與舞蹈相關的項目，並�獲殊�。由 Marlene Millar 和 Philip Szporer 共同執掌，以印象派舞蹈影像、紀錄�和多頻道裝�而 聞名，為加拿大、魁�克，以�國�上的當代舞者和�舞家呈現引人入勝的舞蹈 意象。
Mouvement Perpétuel is a Montreal-based, award-winning independent production company specializing in film, video, and new media with a focus on dance. Co-founded and co-directed by Marlene Millar and Philip Szporer in 2001, the company is known for its impressionistic dance-media films, documentaries, and multi-channel installations that explore choreography and offer compelling portraits of contemporary dancers and choreographers across Canada, Québec, and internationally.
Over the past 25 years, they have cultivated a distinctive practice within the genre of screendance—also known as dance for camera—merging choreography, cinematography, and sound into unified, expressive works. Their projects often embrace hybrid forms and cross-cultural dialogue, exploring themes of identity, environment, and the poetics of the body in motion. Millar and Szporer continue to expand the possibilities of screendance through both independent and commissioned work, creating films that resonate with audiences around the world.
“The task of cinema or any other art form is not to translate hidden messages of the unconscious soul into art but to experiment with the effects contemporary technical devices have on nerves, minds, or souls.” - Maya Deren
世界光譜 SPECTRUMS #1：
LIGHT CONE: 實驗電影發行、展映與典藏
LIGHT CONE: Distribution, Exhibition and Conservation of Experimental Film
LIGHT CONE is a nonprofit organization whose aim is the distribution, promotion and preservation of experimental cinema in France and around the world.
LIGHT CONE's primary mission is the distribution of the works in its collection, in their original format whenever possible, to cultural organizations such as nonprofits, cinemas, museums, universities, galleries and festivals. To fulfill this mission, LIGHT CONE operates as a filmmakers' cooperative, guaranteeing to the authors (or the rightsholders) the ownership of both the physical copies and the moral rights of the distributed works.
In addition to distributing films from its catalog, LIGHT CONE's main activities include L'atelier 105, an artist residency dedicated to video post-production, film screening initiatives (Scratch Projection, Scratch Expanded, and Scratch Collection), and a publishing entity for books on filmmakers distributed by Light Cone (Light Cone Editions).
15/11 [ 六 SAT ]
11:00 am
�港逸東酒店 1 � Kino Kino, 1/F Eaton HK
舞蹈主題九變奏
9 VARIATIONS ON A DANCE THEME
Hilary HARRIS �國 USA 1966-1967
策展人的話
根據�影歷史學家 Richard Abel 的研究，法國高蒙�影 �司在 1900 年至 190 2 年間製作的�影中�一半是舞蹈 �影：盧�埃兄弟的攝影師們對蒂羅爾、�哇、埃�和 其他�型的舞蹈尤為著�。這種對身�舞動的��也蔓 延到美國，在整個世紀的�影史上，舞蹈一�佔據著� 殊的位�。
According to research by film historian Richard Abel, half of the films produced by Gaumont between 1900 and 1902 were dance films: the Lumière brothers' cameramen were fascinated by Tyrolean, Javanese, Egyptian, and other types of dance. The same appetite for the moving body spread to America, where dance occupied a special place in the cinematic landscape throughout the century.
The links between dance and traditional cinema are well established, and the same is true of experimental cinema, which were quickly embraced by its avant-garde movements.
The program offers a journey through the 20th century (from 1900 to 1970), shedding light on this special connection between two kinetic art forms. Almost exclusively in black and white (with the exception of the explosion of color taking place in the last film, made in 2006), in the second part we will have the opportunity to see the works in their original format, in 16mm.
Emmanuel LEFRANT Curator
阿德巴：正負交替 ADEBAR
翩翩安娜貝爾
ANNABELLE DANCES AND DANCES
舞蹈第一篇
DANCE NUMBER 1
蒂莉·洛施
的手舞
TILLY LOSCH IN HER DANCE OF THE HANDS
夜的那隻眼睛 THE VERY EYE OF NIGHT
世界光譜 SPECTRUMS #2：
POOL – 柏林動態藝術電影節
POOL – MOVEMENT ART FILM Festival Berlin （德國 Germany）
POOL ―柏林動��術�影節是一個專注�呈現�實踐 舞蹈與�影融合之�術形式的影展。每屆呈現映富創意 的舞蹈�影作品，�映當代的思考、想像，在�影領域 中展現身�和律動的魅力。�中展映的不僅是舞蹈的單 純記錄，而是通過舞蹈與拍攝工具（如攝影機和�接）之 間的緊密互動，創�獨立舞蹈影像作品。
成立� 2 007 年，並在柏林的 DOCK 11 落戶，影展為 來自各個領域的�術家提供了一個交�的平台，探索舞 蹈、�影、視覺�術、音�和�尚之間的協同效應，為 觀眾提供影像的感官�驗。
除了呈現作為核心的當代�術立場外，影展也播映來自 紐約舞蹈和�影界的先鋒影�，包括 Maya Deren 、中馬 芳子、Elaine Summers 、Yvonne Rainer 和 Phill Niblock 的作品。放映節目之餘， P OOL �透過其網上期刊 《 P OOL Dives Deeper 》培養�術實踐，該期刊包括� 術家訪談，並定期舉辦工作坊。
POOL – MOVEMENT ART FILM Festival Berlin is a project dedicated to the presentation and practice at the intersection of dance and film. The annual festival showcases inspiring dance film productions — reflections and resonances of our times, imagination, and celebration through body and movement in the realm of film. It focuses on films that not only record dance but create independent film choreographies through the intense interplay between dance and cinematic tools like camera work and editing. POOL opens a space for exchange among artists from various fields who explore the synergies between dance, film, visual art, music, and fashion, providing the audience with kinesthetic experiences through the moving canvas. The festival was founded in 2007 and is anchored at DOCK 11 in Berlin.
Alongside the presentation of current artistic positions, which lies at the heart of the festival, POOL features historic films from the New York dance and film scene — including works by Maya Deren, Yoshiko Chuma, Elaine Summers, Yvonne Rainer, or Phill Niblock.
Beyond the festival screenings, POOL nurtures artistic practice through its online journal, POOL Dives Deeper, which features interviews with artists, as well as through regular workshops.
The program brings together dance films in which the body— singular or collective—poetically engages with broader forces, exploring the relationship between the micro and the macrocosmic. Time is stretched, paused, or looped; gestures rest or circulate rather than progress. In this temporal dilation, the films become meditations on the body’s presence, resistance, and vulnerability within a shifting world. Choreography evolves not only within cinematic space but also extends toward the bodies and minds of viewers — unfolding resonant fields beyond the screen.
We warmly thank the participating artists and Jumping Frames for their invitation, and wish the audience a captivating film experience.
Sarah MÖLLER Artistic Co-Director POOL – MOVEMENT ART FILM Festival Berlin
FIVER is an independent festival based in Madrid that explores the creative and political intersections between cinema, the performing arts, the moving body, and digital media. Since 2012, it has supported works that challenge conventional approaches to screendance and hybrid cinema, encouraging experimentation and bold aesthetic languages.
Throughout the years, FIVER has presented a wide range of projects across genres and formats — from short films to performances, installations, and research-based creations — always centering artistic freedom and a desire to rethink our relationship with image,movement, and space.
FIVER is more than a screening platform — it’s a growing ecosystem of artists, thinkers, programmers, and audiences. With minimal resources and maximum commitment, FIVER continues to build bridges between cinema, choreography, performance and digital art — inviting new ways of watching, feeling and moving together.
This program offers a personal perspective on the richness and diversity of dance cinema produced in Spain over the past 15 years. Each of the selected works explores the relationship between the moving image and the body from radically different angles, and yet they resonate deeply with one another — building a shared space of tension, rhythm, and narrative curiosity.
I’m particularly drawn to curating selections that confront the aesthetic fatigue and formal limitations that too often plague the videodance field. This program is an attempt to open up space for works that operate freely across genres, contexts and traditions. From horror and narrative drama to site-specific experimentation and poetic documentary, these films have screened in major film festivals of all kinds: from conventional to experimental, even horror.
Take Timecode, for instance — a choreographic gem that not only won the Palme d'Or at Cannes, but was also nominated for an Oscar. That alone says a lot about how far the dialogue between dance and cinema can reach when it embraces complexity and risk. I hope this selection offers an inspiring and unexpected window into how bodies and images can meet — not as illustration or ornament, but as co-authors of the screen.
Launched in 2022, *SCAPE MOV:MENT Lab is a residency programme in Singapore dedicated to the development of dance films. It brings together the creative possibilities of choreography and the moving image, providing a platform for experimentation, collaboration, and new modes of storytelling.
MOV:MENT Lab’s mission is to support young movement artists and filmmakers in exploring dance through the lens. Embracing an interdisciplinary approach, the Lab encourages participants to experiment across form and medium, blending movement, sound, visuals, and narrative to expand what dance can be on screen. With a strong emphasis on inquiry and risk-taking, the programme provides artists with the space, mentorship, and production support to shape bold, original works that speak to contemporary audiences both locally and internationally.
MOV:MENT Lab was born out of a desire to push the boundaries of how dance lives on screen—particularly within the experimental dance film space. At its core, this residency is a launchpad for young, emerging movement artists and filmmakers to explore choreography not as mere documentation, but as a bold, cinematic act.
As one of the few initiatives in Singapore dedicated to this form, MOV:MENT Lab champions artistic risk and creative disruption. Across three editions, collaborators have stretched the possibilities of framing, editing, and storytelling; reimagining how bodies move through both physical and digital space. It’s been a space for experimentation, play, and deep questioning. It asked: How do we choreograph presence? What shifts when a gesture meets a lens?
The five dance films you’ll see here are the result of that ongoing exploration. Each speaks in its own voice, shaped by the unique perspectives of young artists navigating life, culture, and identity in Singapore and Southeast Asia. Rooted in local textures yet reaching beyond borders, these works reflect a shared impulse; to connect, to challenge, and to reimagine what movement can mean today, especially within our region’s evolving creative landscape.
ARKIPEL International Documentary and Experimental Film Festival initiated by Forum Lenteng and has been held in Jakarta, Indonesia since 2013. The festival's name is derived from "archipelago" and it aims to explore and understand global phenomena within social, political, economic, and cultural contexts through cinema. It screens documentary and experimental films from around the world, fostering an exploration of the cinematic language and the complexities of global society.
Dance was the one that linked Sardono with film. As a dancer, he uses film in his journey to learn various cultures in different locations, especially in Indonesia. Initially, he intended the recording as a kind of diary, not to be showcased to the public. For him, seeing through the viewfinder is a way to practice his visual sensitivity, inseparable from the effort to train the six senses he needs as a dancer and choreographer: hearing, sight, touch, taste, and smell also the strength of soul in certain sacred dance traditions. Rather than speciality and productivity, he believes that art should be approached with the mode of training sensibility towards complexity. He criticized the 19th-century modernity approach that encouraged specialization solely in pursuit of productivity that came to “cul-de-sac”—and therefore it was detached from everyday reality. Only through sensitivity training can artists understand the complexity of life and its problems. That is why the recording of the dances performances in Sardono’s frame does not become a static moving image document, but it is through direct cutting of the events before him that these dances become dynamic, poetic. Sardono’s films also become a kind of autobiography of himself, his perspective, feelings, and thoughts.
Arkipel Jakarta International Documentary Experimental Film Festival
TAIFUN
峇里島村落之舞的初體驗
KECAK RINA
峇里島神話：傳說中的迪拉女巫
DONGENG DARI DIRAH
Robert CHAPPEL / Sardono Waluyo KUSOMO
Curator's Notes
世界光譜 SPECTRUMS #5：
Ann Arbor 實驗電影節
Ann Arbor Film Festival
（美國 USA）
Ann Arbor 實驗�影節（AAFF）成立� 1963 年，由� 意��傳�的�術家 Geor ge Manupelli 創辦，是世界 上�早期的�衛實驗�影節。 Man upelli �力�拓展開 放、鼓勵對話與聯繫空間的願景，至今�影節仍秉承這 理念，不斷發展。每年春天， AAFF 在為期六天的�影 節中，展映來自 30 多個國家的 20 0 多部大膽、破格的 影�。��涵蓋�泛的�型和格式，包括實驗�、動畫、 劇��、非虛構和表演�作品――營�一個平�的空 間，讓影像創作人和觀眾共同建立社群。每年近 3000 部提交作品，使 AAFF 成為��獲��斯卡�格的實驗 �影節之一，�金超過 38,000 美元 。�影節��支� 16mm 影�和�展�影形式 ，還設�回�展、裝��術 和主題項目。像 Agnes Varda、Andy Warhol、Barbara Hammer 和 George Lucas ��術家的早期作品也�在� 展出，而�影節每年都積極促進�烈且包容的交�，帶 來全�觀點。
The Ann Arbor Film Festival (AAFF) was founded in 1963 by artist and iconoclast George Manupelli and is the oldest avant-garde and experimental film festival in the world. Manupelli’s vision of a welcoming and open space that encourages dialogue and connection continues to shape the festival today. Each spring, the AAFF presents over 200 films from more than 30 countries in a six-day celebration of bold, boundary-pushing cinema. Embracing a wide range of genres and formats—including experimental, animation, narrative, non-fiction, and performance-based works—the festival fosters an egalitarian space where filmmakers and audience create community. With nearly 3,000 submissions annually, AAFF is one of the few Academy Award®-qualifying festivals for experimental film, offering more than $38,000 in prizes. Long committed to 16mm and expanded cinematic forms, the festival also features retrospectives, installations, and thematic programs. Artists such as Agnes Varda, Andy Warhol, Barbara Hammer, and George Lucas have shown early work here, and each year brings new voices into a vibrant, inclusive conversation.
15/11 [ 六 SAT ]
9:00 pm
�港逸東酒店 1 � Kino Kino, 1/F Eaton HK
深時之旅 BECOMING FOSSIL
末世返場
ENCORE (FOR THE END OF THE WORLD)
SPARLING
策展人的話
本�單�� 2 024 年� 2025 年 Ann Arbor 實驗� 影節競賽單元展映的�秀作品。 Ann Arbor 實驗 �影節每年放映來自 30 多個國家的�影 ，其中超 過 60% 來 自世界各地，而這�則聚焦美國本土影 像創作人的作品。透過實驗性的拍攝手法，探索動 作、存在感和具身�驗。這�作品共同展現了 Ann Arbor 實驗�影節對拓展影像語言 ，並一�支�� �影視為探索、實驗和發現空間的�術家的鄭重 承諾。
Leslie RAYMOND 節目策劃
Curator's Notes
This program features a selection of works from the incompetition screenings of the 2024 and 2025 Ann Arbor Film Festivals. While the festival presents films from over 30 countries each year—with more than 60% of the program coming from international artists—this grouping focuses on U.S.-based filmmakers. Each piece explores movement, presence, and embodied experience through experimental approaches to the moving image. Together, they reflect the Ann Arbor Film Festival’s ongoing commitment to expanding the language of the moving image and supporting artists who approach film as a space for exploration, experimentation, and discovery.
A collective experimental short essay film depicting a fragment of a surreal inner landscape. Shaped by the embodied research of the creators, the film transcends the digital/material realm, flesh, and language, transforming into a shared and liberated presence.
請稍後片刻
In a Minute
作品從個人�展至社�的��回憶，並嘗試以影像�介解構。
From personal experiences to collective memories in society, the film attempts to deconstruct ‘time’ through visual media.
非玩家角色
Non-Player Character
作品探討人生的營營役役。科技似乎讓一切變�舒適、快捷、方 便，但其實看似自由不過是虛幻。
This work explores the mechanistic existence of human beings. Technologies strive to make everything more comfortable, effective and fast, but it is an illusion that the internet and digital technologies give you freedom.
This film explores our spatial memory through individual and collective recollections, like bamboo scaffolding, the Queen’s visit and memories of past relationships with stories and dance juxtaposed, ultimately revealing the mixed feeling for Hong Kong.
A hybrid short film using 16mm, digital, and stop motion animation to explore power, identity, and devotion. The work is rooted in overlapping identities: Thai, British, American, Chinese, Buddhism and Christianity, reflecting on the layered self and the quiet tensions of belonging.
A hand-drawn charcoal animation that explores the attention flow and the perception intrusion in our daily commute, where our eyes always wander – from smartphone to passersby, from random chit chat to streetlights and traffic.
Through choreographed gestures and intimate interviews, bendungan is a film premised upon the socio-spatial histories of water bodies such as seas, rivers, and the human body. It considers the memory of water, questioning how the sea and its waterways facilitated the Dutch colonial project across the Malay World (Nusantara).
A castaway figure washes up on a strange island, unable to recall its past. It wanders around the intertidal zone, struggling to recount its violent separation from the city. This movement film explores the perishing human form in contrast with the shifting landscapes and water bodies of the island-state of Singapore's peripheral islands.
胎之舞 Haptonomy
蒼茫的胎盤中，三個�胎相互交�。這是一部�關偶�相遇的� 影，一首身�的頌歌。
In the vast placenta, three inhabited bellies communicate. This is a film about a chance encounter, an ode to multiple bodies.
16/11
1:00 pm
�港逸東酒店 1 � Kino Kino, 1/F Eaton HK
宋嘉恩 Grace SONG �加坡 Singapore / 2023 / 15'00
參賽作品（二）：公開組 COMPETITION PROGRAM II: Open Category
重訪凱利舞會
Na Trí Céilithe
影�重溫 20 世紀初�爾蘭僑民在�洲墨爾本舉辦的傳�蓋爾音�
�。在缺乏影像檔�借鑒下，以當代視角重�詮釋，藉音�和舞蹈呈 現�爾蘭的重要文�身�認同。
With no archival footage to draw on, blending memory and movement, Na Trí Céilithe revisits the vibrant Gaelic concerts held by the Irish diaspora in Melbourne, Australia, in the early twentieth century, where music and dance became vital expressions of Irish cultural identity.
滌罪所 Purgatorio
一場你不懂規則的遊戲，你沒辦法�，但你也不��。
《�罪所》乃�舞家、（攝影 / �輯師）和聲音設計師共同創作的結果。
他們�環境舞蹈製作成錄像，�力一起抗衡舞蹈與�影的傳���。
You can't win a game you don't know how to play, but you also can't lose.
Purgatorio is the result of a collaboration between choreographer, (cinematographer/editor), and sound designer. Their collaborative processes are committed to resist traditional classifications of both dance and cinema.
Stephanie MIRACLE, Auden LINCOLN-VOGEL, Philip RABALAIS
In the village of Zuo Tan in Shunde, China, director Er-gao created a fictional cyber dance hall for the local aunties, a communal dreaming space, and a spiritual ancestral hall where time flows and nostalgia for the homeland remains.
Developed from the Slow Dance series by choreographer Joseph Lee, Slow Dance (Zoomed In) attempts to reverse the temporality of various dance forms, to extend and transcend their rhythm and coherent dynamics.
Merging Hindu myth and fragments of sea stories wrapped in a visceral soundscape, the film presents an intimate impression of the changing environment. A Japanese Ama, the ocean waves of IseShima coastlines and the peripheral appearance of the sea monster Makara made up the enigmatic protagonists of the film. 16/11
3:00 pm �港逸東酒店 1 � Kino Kino, 1/F Eaton HK
與父同舟
In the Same Boat
一部關�身�極限與思維無限的短�。舞者 Nanna 以形�與舞蹈 演繹 Rauno 對海洋的回憶。
A film about the limits of the body and the boundless mind. Together with the dance artist Nanna, Rauno's sea memories come to life through dance and movements.
Mia MALVINIEMI / Mervi JUNKKONEN �� / 瑞典 Finland / Sweden / 2023 / 07'31
COMPETITION PROGRAM III: Open Category
四季之舞（夏）
Les Saisons de la Danse (Summer)
《四季之舞》系列的其中一章，演繹 Max Richter 以韋華�作品為藍 本的《�四季》。現實中是夫妻檔的舞者兼�舞 Bobbi Jene Smith 和 Or Schraiber 合演《�》，展現加州�漠耀眼陽光下的熾���。
Part of the series of the Seasons of Dance set to the new Four Seasons by Max Richter’s reimagining of Vivaldi’s timeless masterpiece. Both dancers and choreographers, Bobbi Jene Smith and Or Schraiber stage the “Summer”, where the couple embody the fullness of love under the relentless sun of the Californian desert.
A group of young men pair in a competitive waltz, balancing with a glass between their foreheads. They seek closeness and human contact in an intimate cross between a dance and a fight.
A stop-motion animation showing two dancing figures that manifest within a man, each representing his emotions and functions. They linger in a divided space, isolated from the outside world. Suddenly, something rushes in and grabs their attention.
In an age where digital technologies reshape how we access, preserve, and reimagine cultural memory, this collection examines the intersection between contemporary media and archival traces of embodied practices. "Perhaps, I Can See The Past" investigates how current technological tools function as time machines for recovering, reinterpreting, and revitalising ancient dance and ritual forms.
The selected works demonstrate diverse approaches to this technological archaeology of the body. Shon Kim's Bookanima: Dance employs chronophotography to resurrect movement across cultural boundaries, while Daniel Belton's PEPE (Moth Dances) merges traditional Māori taonga pūoro with digital art, creating pathways between ancestral memory and contemporary expression. Choy Ka Fai's Unbearable Darkness Game Demo pushes further into speculative territory, using gaming technology to explore the afterlives of Butoh through virtual embodiment.
These technological interventions actively reconstruct, reimagine, and sometimes fabricate new relationships with cultural practices that might otherwise remain inaccessible. From Onyeka Igwe's contemporary dancers reimagining Nigerian protest rituals, to Caroline Garcia's Imperial Reminiscence inserting herself into Hollywood dance sequences to expose hidden histories of cultural appropriation, to Markku Lehmuskallio's documentation of Viennese-Karelian wedding dances, each work reveals how the machine's gaze can both preserve and transform our understanding of embodied heritage.
Beyond concerns of historical and technological accuracy, these works perhaps reveal how contemporary machines enable us to see—and move through—the past never fully visible before.
After the wedding dances follow autumn Humans are lost, locked for That kind is The Dance of Life
The film documented the dancers of the Helsinki Youth Society performing the old Viennese-Karelian wedding dance; while these images are juxtaposed to the dance of birds, composing the symphony of nature. It also reflected the director’s connection to humanity in the state of his mind in 1975’s Finland.
is a short film fusing
contemporary dance, and digital art. Featuring
as a solo traveller embodying Hineraukatauri, the work draws on the cocoon-like form of the pūtōrino and the case moth as metaphors for transformation. Silk, breath, and mycelial webs shape a sensory journey through ancestral memory and future vision. The project is a ritual of sound, motion, and spirit, rooted in Te Ao Māori and resonating across time.
Traditionally, women in Igbo speaking parts of Nigeria, came together to protest the behaviour of men by sitting on or making war on them by adorning themselves with palm fronds, dancing and singing protest songs outside the man in question's home . This practice became infamous due its prominence as a tactic in the Aba Women’s War, the 1929 all woman protest against colonial rule. Two contemporary dancers reimagine the practice, drawing on both archival research and their own experiences.
Bookanima, a compound word of ‘Book’ and ‘Anima’, is Experimental Animation to give new cinematic life to books. It aims to create ‘Book Cinema’ in the third scope between Book and Cinema by Chronophotography Animation, paying homage to Edward Muybridge and Entienne-Jules Marey. Bookanima experiments Chronophotography Animation about Dance along with dance flow: Ballet-Korean Dance-Modern Dance-Jazz Dance-Aerial Silk-Tap danceAerobic-Disco-Break Dance-Hip Hop-Social Dance.
Imperial Reminiscence is a cinematic voyage of misguided desire (illegitimate and guilt-free) that traverses fantasies of cultural otherness. It reviews the historical and ongoing Western narrative of whitewashing in Hollywood films and brings attention to these racial transgressions that continue to oppress non-hegemonic bodies through her acts of mimesis and green-screening, to sample popular culture and colonial imagery in playful and humorous ways.
Unbearable Darkness Game Demo is an experimental third-person, non-action, docu-adventure game inspired by the afterlives of Butoh dance master Tatsumi Hijikata. It is a recollection of thoughts, movements and expeditions into the world of Butoh. How does the digital, the virtual, the immaterial or non-human expressions collapse and expand the notion of wandering. Unbearable Darkness Game Demo wanders into a capsule of paranormal dance experience, of speculative documentary and rendered dreams.
Digital Sensing: Biopolitics, Body and Environment
This programme gathers four works that probe how digital existence reconfigures our imaginaries of the body and its surrounds. Beginning from the materiality of the digital—the labour, infrastructures, minerals, and climates that sustain computation— the programme rethinks the cultural and social politics embedded in bodies and datasets alike. Their Eyes brings into view the Global South workers who train and maintain artificial intelligence. Fossilis approaches the digital milieu through an archaeological lens, excavating interfaces and residues to expose technology’s extractive logics. Delivery Dancers’ Sphere traces platform delivery labour and its cultural politics through AI and avatar performance. Tropic Temper scrutinises regimes of environmental control built upon Singapore’s tropical imaginaries. Together, these works ask what is sensed, governed, and resisted when bodies meet computation.
CHOI Sin-yi Emilie Curator
狂熱地帶
Tropic Temper
導演 Director
Elizabeth Gabrielle LEE
�加坡 Singapore 2024 / 16'00
�����馬來� English & Baba Malay 英文字幕 English Subtitles
《狂�地帶》破解�加坡作為「被規訓的�帶」的密碼，解構這 座�園城市所遺忘的根源。
Tropic Temper cracks open Singapore’s code as a site of a disciplined tropics, deconstructing the roots that this garden city has forgotten.
速遞舞步
Delivery Dancer’s Sphere
導演 Director Ayoung KIM
�國 Korea 2023 / 25'00
韓語 Korean 英文字幕 English Subtitles
��的主角 Ernst Mo 是強大快遞服務「 Delivery Dancer 」旗下 的騎手。每日，她沿著演算法生成的路徑，穿���佈科幻未來 主義、�宮般的首爾，深陷�永無止境的包裹運送�程。當她遇 見另一個�本的自己�，其現實開始緩緩崩裂。
Ernst Mo is a rider for the powerful courier service Delivery Dancer. Every day, she transports an endless stream of parcels, following algorithmically generated routes through a labyrinthine, technofuturist Seoul. After she runs into an alternative version of herself, her reality slowly starts to crack.
How does a machine learn to read the world? In a series of testimonies and screen recordings, clickworkers from the Global South talk about their daily work. Their job is to analyse, edit and label countless images of traffic on the streets of the Global North to train the AI of self-driving cars to navigate. In transnational chat rooms, the clickworkers imagine micro-strategies to hack the system that is exploiting them.
化石
Fossilis
導演 Director
Riar RIZALDI
�尼 Indonesia 2023 / 12'00
�尼� Bahasa Indonesia 英文字幕 English Subtitles
地�、心智、身�與機器之間�何區隔？「大概毫無區隔，」一 位未來考古學家如�論斷。
《�石》是一部夢幻的�影，指涉一個幻影般的科幻預測。它同� 是一部�文�影，敘述關�技術遺產的翠綠地獄的故事，並呼應 了二十一世紀亞洲�子廢物的��性。現�大部�的�子產品因 人為的過�而被丟�、傾倒和埋藏。影�以廢�建�的實景佈�、 來自零售市場的拆解部件場景、從被遺�項目中獲�的 3D �產 和環境，還�從個人�據�中生成的�千張未�使用的 AI 圖像作 為基礎。《�石》不僅提供了�子廢物問題的概念、敘事和表現， 還參與了�碼和實�廢�與�子廢物的影像製作過程、發展和模 式，並以�作為�術實踐的手段。
What separates Earth, mind, body, and machine? “Probably nothing,” argues a future archaeologist.
Fossilis is oneiric cinema—a phantasmal science-fiction prognosis, an essay film, and a tale of the verdant inferno of technological legacy. It grapples with the twenty-first-century reality that most of the planet’s discarded electronics—victims of planned obsolescence—are dumped and entombed in Asia. Live-action sets fashioned from refuse, scenes shot in flea-markets of cannibalised components, 3-D assets and environments salvaged from abandoned projects, and AI images generated from thousands of unused photographs form its fabric. Fossilis thus offers more than concepts, narrative, or representation: its very production harnesses both digital and physical waste, transforming e-waste itself into an artistic medium.
Jumping Frames debuts its inaugural Sino-phone Focus section this year, featuring a curated selection of dance film shorts from Chinese-speaking regions that showcases the rich diversity and creative vitality of Sino-phone dance imagery. The section highlights the unique.
舞蹈�變為身�的「地景�術」(Land ar t) ，��滲 入城市律動，與地景本身融為一�。這�影像為觀 者開�嶄�的視角之門，��城市隱藏的靈魂與 �秘。
祁�加 策展人
Italo Calvino once pondered that time manifests visibly in the city, where architecture and monuments endure as fossils of humanity's shared odyssey, beckoning remembrance and compassion.
Body and Landscape presents four dance films woven into diverse urban realms, where dancers wander through cityscapes seeking intimate dialogue with fragments of history buried within. Macau Blank Diary unfolds at Macau's Praça de Ponte e Horta, once the Qing Dynasty's inaugural opium pier and fiscal stronghold, transformed through time from bustling dock to teahouse, from vibrant marketplace to tranquil refuge. The Lost Note inhabits Taiwan's enigmatic Japanese-era edifices, where the director wields tension-filled montage, deliberately misaligning sound and vision to evoke dissonant harmonies that shadow the dancer's elegant movements. A City, A Body and A House follows Hong Kong artists across 9,450 kilometers to Kortrijk, tracing cross-cultural echoes of growth, displacement, and emotional resonance in this distant European enclave. Loop/Hole returns to Hong Kong's tong lau tenements, where dance unfurls in labyrinthine corridors, revealing how body and lens alchemize everyday spaces into dreamlike visions.
Dance transmutes into the body's land art, subtly infiltrating the city's rhythmic breath before merging with the landscape itself. These films unveil fresh portals for beholding the city's hidden soul and whispered mysteries.
Eric KAY Curator
舊城空白日記
Macau Blank Diary
/ 汪圓� Alexis KAM / Dynamic WANG
A city surrounded by the ocean, its people nurtured by its water, fragile awareness being tortured by the illusion of beauty, the vulnerable body dragged by the rhythm of the city. Struggling against the currents of time, the sedate body struggled to write this unrecordable diary about the blank pages of this old city. 一座被海包圍的城市、一群被海養�的人，在這無法 辯別自我的�代徘徊。脆�的意識被美好的假象逼 �，無力的軀殼被城市的節奏牽動。導演引用舞者的 身�寫下這段無法被紀錄的日記 關�這座舊城的 空白日記。
An old, weathered piano abandoned in a Japanese-style building sparked inspiration for director/cinematographer Maurice. Working with dancer Yeh An-ting, they improvised through interwoven camera and body movements, set against the deceptively casual yet rhythmic piano tapping. This exploration captures the emotional turbulence of life's struggling moments, accompanied by a Chopin piece performed by former CCDC dancer Chan Yi-jing—a performance that awakens dormant emotions from the past.
迴家（選段）
Loop / Hole (Excerpts)
2025 / 19'00
導演 Director
王丹琦 WONG Tan-ki
�舞 / 演出 Choreographers / Performers
跳格�界 首映 JUMPING FRAMES WORLD PREMIERE
王丹琦 / 李思颺 WONG Tan-ki / Justyne LI
During her time away from home, artist Alysa Leung embarks on a journey to explore her identity and sense of belonging to her hometown, Hong Kong. Through her artistic research on Kortjrik's urban renewal, she rediscovers the profound connection between space, body, and identity. As she delves into her choreography, she gradually uncovers vivid memories that shape her struggles toward who she is.
When his soul finds its dwelling, everything looks different. Ruins transform into palaces, narrow spaces open up, and even wasteland enchants. As time goes by, what is about to vanish becomes eternity. He tries to redraw a map of his home with his body, leaving a mark for the future.
How do we collectively survive in a world increasingly saddening, polarized, and militarized? How can we cultivate joy, connection, and creativity through the collaborative, playful acts of dancing? These dancing films offer an interconnected, conversational response through the transformative power of (inter)play—entangling bodies, plants, animals, things, cities, and systems in unexpected ways. Across rain-soaked floors, lush ecosystems, urban landscapes, and virtual worlds, dance emerges as a tool for survival—reimagining agency, dissolving boundaries, and forging relationships rooted in care and sustainability.
Through their playful experimentation, the artists explore themes of ecological entanglements, creative rebellion, and the enduring strength of friendship. At the heart of these works lies a spirit of interconnectivity and resistance. Whether it’s dancers embodying the movements of plants and objects, two girls and a cowboy cat contemplating mortality and temporality, or a performer reclaiming her body from the control of a first-person player, each film challenges the systems—both visible and invisible—that shape our everyday lives. Playful Entanglements celebrates dance films as radical acts of reimagining ways to resist, connect, and care for a world that often feels fractured. In these moments of movement and collaboration, we are reminded that play is not frivolous, but a vital force for survival, transformation, and mutual care.
Once Upon A Time In Rain revisits a fleeting moment inspired by Self-Portrait with Three Women (Zhang Mengqi, 2010) from 12 years ago at a documentary youth training camp on Cheung Chau Island of Hong Kong. Performer-director Shing moves across rain-soaked floors, his movements shaped by the collective vision of fellow filmmakers like Chan Hau-chun, Chui Chi-yin, Fai Wan. A playful exploration of creative impulse and collective filmmaking, the work dissolves boundaries between agency and surrender, shared pleasure and private pain.
The second instalment in Collection of Expressive Sight a series of five non-anthropocentric ecological dance films, unfolds in the lush landscapes of Guangzhou. Here, dancers transform their bodies, mirroring the shapes of plants and forging intimate connections with their botanical counterparts. Through this lyrical interplay, the film evokes a world of mutual becoming, where bodies and plants entwine in delicate cosmic choreography, gesturing toward ecological entanglements, blurring the boundaries between human and nonhuman.
In this whimsical and thought-provoking dreamcore fantasy, Kill Tick, two female dancer-directors and a cowboy cat navigate the passage of time, the lightness of memories, and the inevitability of death, while immersed in the colorful backdrop of TV series, My Little Pony: Friendship Is Magic. Blending playful absurdity with existential musings, the film crescendos in a rap rhapsody, where fun and friendship becomes acts of resistance against the world that is falling apart.
Conceived as a duo-channel performance video installation, All things wise and wonderful reimagines Hong Kong through the lens of animism, imbuing inanimate objects in the city with dancing souls. Calendars, traffic cones, street signs, architectural forms, surveillance cameras, fire hydrants, and passing pedestrians transform into both dancing partners and silent witnesses, moving in rhythm with the dancer-director to tell the story of a changing city.
新書發佈 Book Launch
跳廿格
亞洲與全球景觀的跨媒介表演與流動影像
STILL JUMPING
Mediated Performance and Moving Image Across Asia and the Global Stage 2004–2024
新書於影展期間優先訂購。
The new book will be available for pre-sale during the festival.
Manipulated Emotions unfolds as a dance film in the guise of a video game, where the dancer’s costumes, emotions, and movements are controlled by the visible hands of a first-person player wielding the game console. The dancer ultimately reclaims control of her body and agency in a powerful “game over” that subverts the system itself.
競賽入圍作品（二）�開組 Competition Programme II: Open Section p.59
3:00pm �港逸東酒店 1 � Kino Kino, 1⁄F Eaton HK 競賽入圍作品（三）�開組 Competition Programme III: Open Section p.61
5:00pm �港逸東酒店 1 � Kino Kino, 1⁄F Eaton HK 華��影 #2：遊戲糾纏 * Sino-phone Focus II : Playful Entanglements p.74
7:30pm �港逸東酒店 1 � Kino Kino, 1⁄F Eaton HK 跳格 2025 年競賽頒�典禮 / ��作品放映 Jumping Frames 2025 Awards Ceremony / Award Winning Films Screening
17.11 MON 10:00am �港演�學院舞蹈學院 HKAPA Dance School 跳格工作坊： 影格之間的舞動―― Katrina MCPHERSON（英國） Jumping Frames Workshop: Dancing Through the Frame with Katrina MCPHERSON (UK) p.80
3:00pm �港演�學院舞蹈學院 HKAPA Dance School 跳格工作坊： 協作中的創作―― Mouvement Perpétue（加拿大） Jumping Frames Workshop: Collaboration In Creation with Mouvement Perpétue (Canada) p.80
Join award-winning director and artist Katrina McPherson (Making Video Dance, Routledge, 2019) for a hands-on three-hour screendance workshop. Learn to adapt live performance for the screen, experiment with framing and filming, and capture the essence of movement. Bring a camera or phone and wear comfortable clothing suitable for movement.
協作中的創作——
Mouvement Perpétuel (加拿大）
[ 一 MON ]
�間：上午 10 �至下午 1 �
日期： 2025 年 11 月 17 日
地點：�港演�學院舞蹈學院
費用： HK$300
Time: 10:00 am – 1:00 pm
Date: 17 November 2025
Venue: Dance School, HKAPA
Fee: HK$300
10 am -6 pm 11/9
Collaboration In Creation with Mouvement Perpétuel (Canada)
After group discussion, a location will be decided together and the participants will perform their fight with an invisible character or thing or be beaten by thin air! The process will be recorded and replayed for group discussion.
�間：下午 3 �至 6 �
日期： 2025 年 11 月 17 日
地點：�港演�學院舞蹈學院
費用： HK$300
This workshop draws on collaborative models developed by Marlene Millar and Philip Szporer over twenty-five years of joint practice, guiding participants in building effective and inspiring creative partnerships. Explore the interplay between performance and filmic space, experimenting with how environment, body, and camera interact to shape artistic outcomes. Develop a shared creative vocabulary that bridges disciplines and enhances collaborative communication. Please bring a camera or phone for hands-on practice.
Eaton HK offers stylish, affordable and highly customisable venues that come with entertainment facilities as well as art and community driven partnerships. From our 50-seat theatre and Kino lounge to our banquet hall, Eaton HK’s venues can accommodate gatherings of varying styles and sizes.
電影首映 O cial screening
研討會 Panel discussion
會議及活動 Business Meetings
社交宴會 Social Gatherings
門�現已�開發售 Tickets NOW available
�價 Ticket Prices
�碼格式� 35mm 放映節目 Digital and 35mm film screenings HK$ 100
門��惠 Discounts
適用�百�匯�影中心��港逸東酒店 Kino 放映之節目
含 16mm 菲林放映節目、講座式展演 16mm film screenings and lecture-performance HK$ 200（不設折扣�惠 No concession discounts applicable）
Applicable to screenings held at Broadway Cinematheque and Kino, Eaton HK.
HK$80
全日制學生、60 歲或以上長者、殘疾人士�看護人��合社��障援助受惠人折扣�惠 For full-time students, senior citizens aged 60 or above, people with disabilities and the minder and Comprehensive Social Security Assistance recipients (CSSA)
�港百�匯�影中心�員 / MOViE MOViE �員 Bcinephile Members / MOViE MOViE member
九折�惠 10% Discount
Eaton House �員 * Eaton House Members*
* 如購買百�匯�影中心節目，需�臨��使用�惠。
For Broadway Cinematheque programmes, the offer is redeemable only at the cinema box office.
Patrons purchasing concessionary tickets for full-time students, senior citizens aged 60 or above, persons with disabilities and their accompanying carers, or recipients of the Comprehensive Social Security Assistance (CSSA) must present valid identification upon purchase at the Broadway Cinematheque box office.
All tickets are subject to the terms and conditions of Broadway Circuit and Art-mate. For details, please refer to the official websites of Broadway Circuit and Art-mate.net.
�片����票 Film Classification and Refund
如�任何爭議，主辦單位�留�終決定權。 In case of any dispute, the organiser reserves the right of final decision. 3. 4.
�惠���人入場�必須出��效年齡或身�證明文件；�學生�者須出��效全日 制學生證。院方�權拒絕未�出�相關證件之人士入場，並不�作出退�或任何賠償。 Concession ticket holders are required to present valid proof of age or identity upon admission. Student ticket holders must present a valid full-time student ID card. The venue reserves the right to refuse admission to any person who fails to present the required documents, and no refund or compensation will be made.
At the time this program brochure goes to print, some films have not been submitted to the office for Film, Newspaper, and Article Administration. In the event that a film/video is subsequently classified as Category Ⅲ refunds will be made to ticket holders under 18 years of at the box office of Broadway Cinematheque or by CCDC Office. Detail will be announced.
�目內�並不��主���伴單�的�見 Programme content does not reflect the view of the presenter and partners
城�當代��團保留更���者� / 或修�已�布的�目內���利 CCDC reserves the rights to substitute artists and vary advertised programmes
