Showing posts with label Dance in Film. Show all posts
Showing posts with label Dance in Film. Show all posts

Friday, September 1, 2017

Polina: From the Classic Russian Ballet to the World of Contemporary Dance

By José Alberto Hermosillo

Inspiring and beautiful, “Polina,” or in French, “Polina, danser sa vie,” recites the incredible journey of a young Russian ballerina with big dreams and great expectations. 

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

Based on the graphic novel by Bastein Vivès, “Polina” opens with an unforgettable, recurring image of a seven-year-old girl performing in the woods.

Polina grows into a beautiful teenager. With discipline and talent, she continues to develop as a ballerina at a prestigious Academy in Moscow.

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

At the Academy, Professor Bojinski’s military methods make Polina’s life more stressful. The tutor challenges his pupils with pain and strict discipline. “A real artist always longs for perfection,” he says.

The Bolshoi Ballet is one of the most significant contributions to Russian culture, a national symbol of pride. Every year, many young aspiring Russian dancers compete to be part of it. The Bolshoi is the ultimate goal. Polina is not the exception. She, as well, will do the impossible to be part of the most prestigious dance company in the world.

“Polina” still courtesy of Oscilloscope Laboratories © 2017 
In life, love always plays a tricky game -- Polina falls for Adrien, played by Niels Schneider (“Heartbeats,” “I Killed My Mother”), a charming French dancer who introduces her to the world of contemporary dance.

In France, Polina lands in the hands of a famous modern dance guru named Liria Elsaj, played by Oscar-winning Juliette Binoche (“The English Patient”).

Binoche is a chameleon of an actor who transforms herself into an extraordinary character with perfection in every film. 

Liria is a professional coach who demands that her talented dancers tap into the best of their inner selves if they want to continue pursuing their dreams.

She firmly believes, “When you dance, it is important to feel the absence of someone you love.” 

She continues, “An artist observes, looks around, and masters his technique. A real artist is always looking for perfection. You must learn your craft and be ready for your big moment.”

In the streets, Polina bounces with the underground dancers of Paris, the unprivileged, marginalized immigrants who like to dance to contemporary music in the free spaces, plazas, and alleys. She is amazed to see the dancers moving with the freedom she never had. 

Jérémie Bélingard is a real-life star of the Paris National Opera. He plays a motivator who helps troubled kids improve through modern dance with striking techniques. 

“Polina” still courtesy of Oscilloscope Laboratories© 2017 

Bélingard’s presence is sublime. His interaction with Polina marks a turning point in the story and gives Polina’s life real meaning. 

For the role of Polina, directors Angelin Preljocaj and Valérie Müller-Preljocaj auditioned 700 dancers before they discovered Anastasia Shevtsova at the Mariinsky Theater in Saint Petersburg.


Anastasia Shevtsova is a real virtuoso. Her breakthrough performance in “Polina” is extraordinary - she has exceptional acting abilities and professional dancing skills.

“Polina” graces some of the most stunning locations across Russia, France and Belgium. The gorgeous cinematography is by George Lechaptois. He displays Polina’s world with elegance and beauty.

The original music score is by 79D. “Polina’s” musical evolution seamlessly goes from the classics to the contemporary sounds of modern dance.

“Polina” is enjoyable and original, and it breaks conventions, although the editing could be more timely, with smoother transitions to lend the film a sense of modernity.

Polina’s final conflict is within herself—she has to make important decisions about her life. Will she play a character in “The Nutcracker,” perhaps in “Snow White,” or will she merely perform herself in contemporary ballet?

Remember, the best role of your life is the one where you can be yourself.

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Copyright © 2017 Festival in LA 

Monday, September 12, 2016

DANCER: THE UKRAINIAN BILLY ELLIOT OF ‘TAKE ME TO CHURCH’

By José Alberto Hermosillo

DANCER: THE UKRAINIAN BILLY ELLIOT OF ‘TAKE ME TO CHURCH’

“Billy Elliot” is a fictional character; Sergei Polunin, in the documentary “Dancer,” is real. 

“Dancer” chronicles the life of the remarkable ballet performer whom the British media named “the bad boy of ballet,” Sergei Polunin. Polunin was also called “The New Nureyev of Ukraine.”


In Polunin’s early days, he had to learn a valuable lesson: “Dancers have to be tougher.”

His mother recalls his son’s fervent passion for dancing since childhood and how he first learned gymnastics before moving into ballet. “Polunin wanted to be the best,” his loving grandmother remembers.

To provide Sergei with the tuition funds to succeed in dance, his family separated and worked in different countries (Greece, Portugal, and Russia).


Polunin moved with his mom to Kyiv. The emotional toll of his journey pursuing his dreams worsened when he and his mother separated in London due to a visa problem.

19 Polunin became the Royal Ballet’s youngest principal dancer in history. His family never saw him on stage. 

Sergei was so demanding of himself that the pain in his body had to be mitigated with cocaine.  


Polunin’s virtuoso recognition began in Ukraine when he moved to the U.K., then to Russia, and now continues in the U.S.A.


While planning his last dance performance in Los Angeles, Polunin contacted the famous photographer David LaChapelle. After that, they went to Hawaii to shoot the music video “Take Me to Church.”

Sergei Polunin, “Take Me to Church” by Hozier, Directed by David LaChapelle

Sergei Polunin, in those four minutes of breathtaking performance, conquered the world and inspired thousands of fans who could not stop playing the clip repeatedly. 

The music video went viral in days, with more than 17 million views worldwide.

In the documentary “Dancer,” Sergei Polunin’s sexuality was never disclosed, as the story centers on his struggle, moves, skills, personality, and family.

“Dancer” took nine months to edit, yet there was still insufficient time to make the documentary flow more creatively and with a tighter structure.


The film’s transitions were rough. The story is linear, with flashbacks from different sources (video, cell phones, the internet, film, news, and TV shows). These were not properly trimmed and timed to keep the movie evenly in color and mood from beginning to end.


Some beautiful dancing shots were seemingly cut too soon, and other moments about his family were too long. The information was tilted to present Sergei’s good image and family ties.
 
Director Steven Cantor, photo by José Hermosillo, copyrights Festival in LA, 2016
 
The director of this touching documentary, Steven Cantor, captured Sergei Polunin’s emotions, skills, and creativity with an open heart. 
 
Polunin’s awareness was to use his body and dancing moves to give people joy.


“Dancer” is an inspirational documentary about sacrifice and personal growth that deserves to be seen by a broader audience worldwide.


Film critic José Hermosillo, Director Steven Cantor. Copyrights Festival in LA 2016

Copyright © Festival in LA 2016