Land.Scapes from the SEA 
​東南亞舞影光譜
Dance Films looking into the past and present, the myth, stories and the voids of dance films from Philipine, Indonesia, Thailand and Singapore.
Suprapto Suryodarmo's Silent Path 
Directed by Deny Ardianto
Indonesia | 2020 | 12’47 
Synopsis 簡介

Suprapto Suryodarmo is an inventor and practitioner of Amarta Movement, a form of non- stylised
movement practice that draws on free movement. Rather than a movement format or technique, Amerta supports people to move with sensitivity to the atmosphere. Prapto said through moving we can reintegrate parts of our self and become a part of our environment. This film is his short documentary about his daily life and his Amarta Movement.
Afterlight
Director: Thay Littichai / Littichai Siriprasitpong
Artist & Choregrapher: Dujdao Vadhanapakorn
​Thailand | 2018 | 10 mins
(Thai in English subtitles) 
Synopsis 簡介

The artist’s body converses with an abandoned building owned East Asiatic Company Thailand. The structure, built in 1884 was used by the Danish company as their headquarters during the colonial era. The body is sceptical of the meta-statement: ‘Thailand has never been colonized’. It explores the wrecked building when the artist begins to embody the conversation. A form of body movement, a trace of colonization gradually emerges. The question, “How much do we own the way we are?” begins to resonate and become the starting point of this exploration.
An Invocation to the Earth 
Directed by Yeo Siew Hua
Singapore | 2020 | 16 mins
Synopsis 簡介

Conceived and performed during the 7th month of the lunar calendar (Ghost Festival) -in the midst of burning effigies and rainforests- the film is based on a spell to resurrect spirits, calling back old vendettas and new friendships, like that of the Buaya and Kancil folklore. Meanwhile, other spectral entities return to witness the dance and display, in hopes that they may possess us with their spirit.
WHITE FUNERAL
Directed by Sari Dalena Choreography: Myra Beltran
Philipine | 1997 | 29’50
Synopsis 簡介
​
A bride walks on the desert. She takes off her bridal ornaments and turns into a harlot. A multitude of people crawl on their bellies, become sick and soon die. A volcano erupts. White ashes of lahar cover the earth. The bride remembers her betrothal and repents–symbolically paving the way for the resurrection of her people. A final bridal march into a new heaven and earth takes place.
CCDC Commissioned Work Selections
CCDC委約作品精選
Mountains, Seas, Panorama
山海流
Wilfred WONG, BLUE Ka-wing
Hong Kong  | 2020 | 21'
Synopsis 簡介
“Kua-fu chases after the sun. He feels thirsty when he gets close with to the sun, so he quickly drinks all the water in the Yellow and Wei rivers, and even the large lake in the North when he is not satisfied. Before he arrives, he dies of thirst. After death, his cane turns into a forest of peach trees.”*
Migrating from place to place, our hearts rest in peace whenever there are spirits.
* from the ancient Chinese folk tale, Kua-fu Chases after the Sun in Scripture of Mountain and Sea

​夸父追日 – 《山海經》
「夸父與日逐走，入日；渴，欲得飲，飲於河、渭，河、渭不足，北飲大澤。未至，道渴而死。棄其杖，化為鄧林。」

流徙之所。有靈的地方，是心安之處。
Over Here?
​喺度？
Zelia ZZ TAN 
Hong Kong | 2020 | 10'
Synopsis 簡介
In a city, people are flowing ceaselessly, like a river. She wants to speak… but she can’t find the right words.
Mask, no, it can be touched. It can be worn on everyone’s face.
Crossing the flyovers, drifting around the corners of the world, she and he step into a rapidly changing dream. They wait at the airport, watching the surge of time and space.
​Can a spoon catch all the tears? It stays on the spine and reflects light.
The harmonica is played again and again. Waves reach the coast in slow motion.
What is ‘Flow’? What is ‘Moving’?

在某一個城市，人如川，流不息。她說⋯⋯但，種種語匯欲言又止。
口罩，不，可以被接觸的。戴在眾人臉上。
穿過天橋，漂泊在那個世界的角落。她和他邁進瞬息萬變的夢境，在機場等待，看見時空湧動。
勺子接得住淚水嗎？逗留在脊椎上，反射光。
口風琴一次次地被吹響，海岸邊，浪花慢蕩。
什麼是「流」？什麼是「動」？​
OhI Million Fist!
噢！百萬拳！
Hugh CHO 
Hong Kong | 2017 | 7'
Synopsis 簡介
Dance and martial arts share the same origin. Having practised martial arts for years, a long term practitioner of martial arts, dancer Hugh Cho collaborates with fight director Master Yuen Fai to develop a choreography based on fight scenarios. Playing with camera angles and speed of movement, Cho and Yuen merge dance with action movie and its shooting technique to create a new kind of screendance.

舞蹈與武術同出一轍，習武多年的曹德寶邀得武術指導元輝師傅合作，從武打場面開始慢慢發展成編排了的舞蹈。當中嘗試不同的可能性，如鏡頭位置、動作速度節奏改變等造成的不同效果，將電影中的武打場面及拍攝技巧融入舞蹈影片之中。
Where Is Romance Placed? 
浪漫在哪？
Malvina TAM 
Hong Kong | 2017 | 5'
Synopsis 簡介
Lover in the City is CCDC dancer Malvina Tam’s film debut. Through integrating contemporary dance with video art, it shoes a unique view of Hong Kong urbanscape. A romantic duet set against the dirt and chaos of markets, alleyways and construction sites, it examines the symbolism of these locations and how we perceive romance – love and light, sickness and darkness – and the relationship between body and city.

浪漫是眼中只有你和我，還是需要環境氣氛讓人沉醉？一對纏綿的戀人起舞於街市、橫街窄巷和地盤當中，是奇異的對比還是富有衝突的融洽? 本片考驗我們如何從環境中感受浪漫，在最普通的日常生活中，我們如何閱讀城市景觀。
Come Rain or Shine 
​其實落雨又有乜好怕喎
Justyne Li
Hong Kong | 2019 | 12'
Synopsis 簡介
In a society of extreme distortion, people lives like ants and they actually don’t mind about it. Sunlight may not be inevitable, and in fact the rain may bring more clarity to the mind and body. The ant is getting more used to being abused, actually enjoying it, because rain and snow brings more vitality to them. Will it die? Maybe…but at least it walked through the path with courage and wisdom.
​
在是非黑白癲倒的社會, 螻蟻已不介意自己是螻蟻。陽光已非必然, 反而雨水或許會使頭腦及身體更清醒。到了一個地步, 螻蟻漸漸習慣被虐待, 因為雨及雪反而令螻蟻變得更有生命力。會死嗎? 可能會….但至少牠帶着勇氣及智慧走過這段路。
1958 Delivery
慢遞1958
Elysa WENDI 
Hong Kong | 2017 | 13'
Synopsis 簡介
​The journey of a funeral flowers delivery man searching for an address, travelling across Sheung Wan from Hollywood Road to Tai Ping Shan Street, caught between moment of condolences, the past and the ever changing landscapes. This film is inspired by Nagano Shigeichi’s photographic book, Hong Kong Reminiscence 1958 and re-imagined further of hidden stories of trapped souls in old houses destined for demolition.

1958 Delivery had its World Premiere in the Jumping Frames International Dance Video Festival 2017
影片以一個帛事花牌送貨員從上環荷李活道走到太平山街的旅程為故事藍本，鏡頭漫不經心地捕捉這個城市時間軸上的紋理和縫隙，經歷變遷的迅速，隱含悼念的哀愁。影片概念源於日本攝影師長野重一《香港追憶》相集中一幀拍攝於1958年的照片，牽來一些被困於即將拆卸的舊建築之中陰魂不散亡靈的光影想像。
《慢遞1958》於「跳格國際舞蹈影像節」2017作世界首映。
Motion Body beyond Island Scenery
島嶼身景．舞影漫遊
Dancecology presented the 2020 Around Taiwan Dance Film Project: Motion Body beyond Island Scenery. This project is leading by artistic director of Dancecology, Peng Hsiao-yin, inviting  Lai-Yu-man, WILLIAM LÜ and Peng as 3 mentors for the professional workshops and their 3 site-specific dance films shooting in Changhua, Tainan and Taitung.
​臺灣舞蹈生態系創意團隊2020年推出「島嶼身景，舞影漫遊-舞蹈影像環島創作計畫」，以藝術總監暨導演彭筱茵為號召，邀請享譽國際的華人青年舞蹈影像導演黎宇文(香港)與呂威聯(荷蘭、美國、臺灣)共同於8-9月間，分別在臺灣中部(彰化)、南部(臺南)、東部(臺東)三座城市移動並進行駐地創作，與純園(彰化)、曙光種籽舞團(臺南)和洄廊、WeArt表演藝術平台(臺東)攜手在地合作。
Breaking Waves 
​破浪
WILLIAM LÜ 呂威聯
Taiwan｜2020｜5'
Synopsis 簡介
Picture

Breaking Waves, directed by William Lü, is a short dance film featuring Dancecology’s choreographer/director Peng Hsiao-yin  and Dancer Chen Fu-rong . It was shot in Taitung, Taiwan. It conceptually explores the idea of one’s persistence, power, and freedom.
《破浪》，由呂威聯執導的舞蹈影像短片，由舞蹈生態系的彭筱茵和陳福榮主演。
本片在台灣台東拍攝，探索了一個人的堅持不懈、行動力以及自由意志。

WILLIAM LÜ was born in Taipei and raised in Indonesia and USA. He danced professionally for 15 years in USA and the Netherlands. He has served as a guest faculty at Codarts Rotterdam University of the Arts and Holland Dans Festival among others. He is a two-time Lester Horton Award recipient for his performance with an American dance company, Backhausdance. Lü’s film works have been featured in festivals such as Busan International Short Film Festival, MECAL in Barcelona, Asians on Film in Hollywood, Sandfly International Film Festival in Melbourne and Cinedans in Amsterdam. He currently resides in Taiwan. ​
呂威聯，出生於台北，從小先後在印尼及美國長大。他在美國和荷蘭擁有超過15年的業界舞蹈經驗。
曾在 Codarts 鹿特丹藝術大學及Holland Dans Festival 擔任客席講師。在美國著名舞團-Backhausdance，獲頒連續兩次”萊斯特·霍爾頓”的最佳表演獎。作品曾在韓國釜山的國際短片節、巴賽隆那的MECAL、好萊塢的亞洲影像，墨爾本的Sandfly國際影像紀錄以及阿姆斯特丹的Cinedans，活躍於每個國際影展。
A Fading Flower 
​香夭
Maurice LAI Yu-man 黎宇文
Taiwan｜2020｜5'
Synopsis 簡介
Are we unable to go back?
我們是不是已經回不去？

Maurice has been in documentary video shooting for movie and stage performance, video design and promo production since 1996. He holds a master degree of cinema production from The Hong Kong Academy for Performing Arts.
Maurice received from Hong Kong Dance Alliance, The Hong Kong Dance Award for Outstanding Achievement in Video and Photography for Dance in 2015 and Outstanding Visual Design with Sue Healey in 2018. In 2017 he received from City Contemporary Dance Company, City Contemporary Dance Laureate.
游走於錄像、舞蹈、戲曲及飲食文化之間。1996年開始為電視電影及舞台演出製作宣傳片、錄像設計、紀錄及舞蹈錄像。
香港演藝學院電影製作藝術碩士。2015年獲香港舞蹈聯盟，頒發香港舞蹈年獎－「最值得表揚舞蹈錄像及攝影」。2017年獲城市當代舞蹈團頒發「城市當代舞蹈達人」，表揚他在過去一年在舞蹈界的成績和貢獻。2018年憑製作《觀‧影—香港舞者》聯同澳洲著名編舞家蘇·希莉獲香港舞蹈年獎「傑出視覺設計」。
Planting the Cycle of Pure5 mins 
​純純種，源源生
Peng Hsiao-yin 彭筱茵
Taiwan｜2020｜5'
Synopsis 簡介
Picture

To flower, to grass, to field, to tree, to road and to human
Planting the Cycle of Pure was shot at Pure Dream Garden, Xichou, Changhua, the private forest of poet Wu Sheng. Inspired by Wu’s action: planting trees for over 30 years, the director Peng Hsiao-yin created the pure cycle of time between present and future, before and after the “planting”.
The three performers symbolized the interactions of sunlight, fertile soil and the seed, and the rendezvous road of male, female and child.
給花  給草  給田  給樹  給路 給人
本作於彰化溪洲－詩人吳晟的台灣原生樹林「純園」拍攝。回應其數十年來「種」樹的動作，以及人與林間萬物對應的流轉，在種下的之前和之後、當下與未來，開啟了一個純粹的循環時間。
三位表演者象徵著日光、沃土和種子的交互作用，以及男性、女性和孩子的交會道路。

Artistic Director of Dancecology, founder of Dancescreen Collective Taiwan. Site-specific, environmental theater and dance film director and choreographer. Peng won the 1-min competition of 2017 Jumping Frames International Dance Festival, 2013 Taishin Arts Award (Art as Environment- A Cultural Action at the Plum Tree Creek) and 2012 Manfei Grant. In 2017, she started Taiwan-Australia project Contours, cooperated with world-awarded director Sue Healey. In 2019, Dancecology presented 360 degree version of Contours at National Taiwan Museum of Fine Arts. Since 2016, she curated and mentored several dance film workshops, coopered with TPAC and  Circling the Brink(Australia). In 2020, she initiated Motion Body beyond Island Scenery project including dance film workshops and resident creation around Taiwan.
舞蹈生態系創意團隊藝術總監、舞映島－台灣舞影聚落創辦人
以舞蹈影像和環境劇場創作為主的導演暨編舞。曾獲2017 跳格國際舞蹈影像節競賽首獎、2013 台新藝術獎「樹梅坑溪環境藝術行動」、2012羅曼菲舞蹈獎助金。2017 年與澳洲名導 Sue Healey 合作臺澳跨國《身體系譜》計畫，2019 年於國美館展出 360 度環形投影作品《Contours 舞‧界‧線》。曾與北藝中心、澳洲Circling the Brink等合作，策劃並擔任舞蹈影像工作坊導師。2020年發起「島嶼身景，舞影漫遊」舞蹈影像環島計畫。


The Last Movement 
關於舞蹈的最後一個動作
Chiu Chih Hua 丘智華
Taiwan｜2020｜3'58"​
Synopsis 簡介

Through the choreographer’s coaching, the performers clearly know the instructions. And can the audience imagine the dance through this process? This is a movement of dance and How the video is presented.
舞蹈如何動作？透過編舞的口述指導，讓表演者清楚知道指令。而觀眾是否可以透過這個口述過程，想像舞蹈的樣子？這是關於舞蹈的一個動作，也是關於影像如何被再現的實驗。

Chiu Chih Hua work a lot on image-art. Wandering between reality and illusion, his works involve statics and kinetics. Inspired by documentary photography, in the early years, Chiu worked on single-channel filming which performed in urban streetscape. As time goes by, Chiu changed his form of art-making from photography to model-making and keeps working on image, space and model art creations.
丘智華的作品，一直致力於影像相關的研究，早期為紀實影像所啟蒙，從事以城市為視角的單頻道錄像拍攝，之後逐漸發展以真實場景轉化為模型製作的創作形式。並陸續與不同國家的編舞、舞者合作新的影像作品。近年則是將影像、劇場的元素拆解再重新組合，模糊不同形式間的邊界，也試圖在人物與空間中，找尋社會、環境與信仰的印記。
Today's Special
是日例牌
“Today’s Special” is an independent program curated by Ergao from Guangzhou since 2020. Like a daily special with surprises, the program is incoporated in different festivals and events in an organic, irregular manner. In this edition of ROLLOUT, we will be screening a new menu of “Today’s Special”. In this menu, the best local “dishes” from around China with the tastes of #fluidity, #exile and #nostalgia will be served.
《是日例牌》是廣州的二高表演於2020年發起的獨立策展單元，它將會以隨機的模式，有機鑲嵌到不同藝術節以及藝術項目之中。這次於ROLLOUT再次以「是日例牌」之名，​於內地全國徵集舞蹈影像作品，最後為澳門觀眾送上一道由內地多個地區炮製的菜色 --《是日例牌》，一道關於 #流動、#流放、#觀察鄉愁（Nostalgia）之地方菜。
Wish By The Sea
海邊的心願 
Shiya Lu 盧詩雅
​China 中國 | 2020 | 3'19
Synopsis 簡介
A person drifting overseas, a home-style dish from childhood, two opposing videos connect the inner world and landscape, bringing out a very personal nostalgia.
常年生活在海外的遊子，一道兒時的家常菜。兩個影像互文，連接內心情感與自然景色，呈現一種非常個人化的鄉愁。

Shiya Lu
Shiya Lu is a performing producer and artist living and working in Sydney. Currently, she is a Project Producer at Shaun Parker & Company, one of Australia's most highly acclaimed contemporary dance companies. She is a Dayell Scholar at the University of Sydney studying Art History and Visual Arts. Born in Sichuan Province, China, Shiya has worked in the UK, Thailand, Norway, and Australia as a producer and art journalist. 

盧詩雅
盧詩雅是一位表演製作人和藝術家，現居悉尼，目前在澳洲頂尖現代舞團肖恩帕克公司擔任製作人，並且正在悉尼大學達里爾學者項目完成藝術史和視覺藝術課程。出生於中國四川，移居澳洲前，她曾在英國、泰國、挪威等國學習和工作。
Family Portrait
家庭合照 
Jingqiu Guan 管競秋
​China 中國 | 2019 | 10'44
Synopsis 簡介
Confronting conflicting values, a young woman returned to her home country to rediscover what has shaped her own beliefs by tracing different lessons bestowed to her from her grandmother, her father and her son.
面對中西文化一些矛盾的價值觀，一個年輕女子回到家鄉，通過外婆、父親和兒子給她帶來的生命體驗，去追尋塑造她自己的信念。

Jingqiu Guan
Originally from Chengdu, China, Jingqiu Guan is currently pursuing her PhD in Culture and Performance at the Department of World Arts and Cultures/Dance at UCLA. Her dissertation explores the aesthetics and politics of screendance in mainland China and how these works engage with China's postsocialist modernity. Jingqiu's dance films and documentaries have been screened in a number of screendance festivals and film festivals in various cities in the US, the UK, Norway, Spain, Austria, Mexico, mainland China, and Hong Kong, for instance: San Francisco Dance Film Festival, ADF's Movies by Movers Festival, Dance Camera West, Jumping Frames International Video Dance Festival, and many more. Her experimental dance film "Afar" received the Best Student Film Award in MarDelDance Film Festival in 2018, and her recent dance film "Family Portrait" received the Grand Jury Award at Chicago's International Dance Film Festival in 2020 and Best Student Film Award at San Francisco Dance Film Festival. Her research has been published in The International Journal of Screendance Studies, The Journal of Media Practice and Education and Dialogs com a arte.

管競秋
管競秋來自中國成都，現在加州大學洛杉磯分校世界藝術文化與舞蹈系讀博。她從藝術理論和文化學角度研究中國大陸舞蹈影像作品以及這些作品與中國現代社會的關係。她有多部作品入選美國舊金山舞蹈影像節、美國舞蹈節的舞蹈影像節、美國西部舞蹈影像節、香港跳格舞蹈影像節以及英國、挪威、西班牙、奧地利、墨西哥、中國大陸的相關平台展映。其舞蹈影像作品《遠方》榮獲2018年新澤西馬德爾舞蹈影像節最佳學生作品獎；《家庭合照》榮獲2020年芝加哥國際舞蹈影像節評審團大獎，同年榮獲舊金山舞蹈影像節最佳學生作品獎。多篇學術文章發表於國際舞蹈影像學雜誌、影像實踐雜誌以及藝術教育與評論雜誌。
Over Here?
喺度？ 
Zelia ZZ Tan 譚之卓
China 中國 | 2020 | 9'55
Synopsis 簡介
In a city, people flow ceaselessly, like rivers. She says…but, stops short.
Masks. No, they are not untouchable. They are on your face, or in your face? 
Across the overpass, drifting around the corners of the world, she and he step into a rapidly changing dream. They wait at the airport, seeing the surge of time and space.
Can the spoon catch the tears? It stays on the spine, reflecting light.
The melodica is played again and again. Spume move gently along the shore. 
What is Flowing ? What is Moving?

在某一個城市，人如川，流不息。她說⋯但，種種語匯欲言又止。
口罩，不，可以被接觸的。戴在眾人臉上。
穿過天橋，漂泊在那個世界的角落。她和他邁進瞬息萬變的夢境，在機場等待，看見時空湧動。
勺子接得住淚水吗？逗留在脊椎上，反射光。
口風琴一次次地被吹響，海岸邊，浪花慢蕩。
什麼是‘流’？ 什麼是‘動’？

Zelia ZZ Tan
Zelia ZZ Tan is a young experimental dance film director based in Hong Kong. 
She has created 4 short films. “Over Here?” was commissioned by Jumping Frames International Dance Video Festival 2020. "Moon Paradox I" was official selected in 8 film festivals in 2020. “ Blank” was a finalist of the Jumping Frames Competition 2016. “My White” was shot in the Venice Biennale of Architecture in 2016.
Her cinematic style is poetic and abstract. She is interested in exploring human psychology and identities in an ultra-complex urban context. Parallel narratives and visual metaphors are deployed to create multiple dimensions in time and space. The dances in the films are not conventional stage styles, but fragmented movement reconstructed to articulate stories of the Body.   
Zelia is a professional dancer in City Contemporary Dance Company, after graduating with first honor from the Hong Kong Academy for Performing Arts. A versatile artist, she has years of experience in Chinese ink painting and ballroom dance. She has danced in 14 countries, including some esteemed festivals and events. An adventurous spirit cultivates her insight into art, and life.

譚之卓
香港城市當代舞蹈團專業舞者，曾與多位知名編舞家合作，如黎海寧、桑吉加、Kim Jae Duk、Dam Van Huynh, Kuik Swee Boon等。畢業於香港演藝學院（一級榮譽）。
生於中國湖南，曾在14個國家演出及深造，又應邀參加芬蘭赫爾辛基藝術節演出獨舞作品。
曾學習國標舞7年和水墨畫9年，近年創作了5部實驗舞蹈短片，《喺度？》由「跳格國際舞蹈影像節」委約、《月之悖論》入選8個不同舞影展。近年創作實驗舞蹈短片和參與跟VR、動作捕捉有關的實驗。
Growth Wave
成長紋
YUAN 許願
China 中國 | 2020 | 2'6
Synopsis 簡介
I am rooted but I flow. —— Adeline Virginia Woolf
我有根，但我流動。——弗吉尼亞·伍爾芙

YUAN
YUAN was born in 1995. Her creation involves a variety of media including painting, installation, video and body. She often explores the tenderness and cruelty of relationships through gritty expressions from the perspective of an observer and interloper. She graduated with a BA in Chinese Painting from the Hubei Academy of Fine Arts in 2018 and an MA in Creative Media from the City University of Hong Kong in 2020. Now she works and lives in Guangzhou, her unfamiliar hometown.

許願（小鳥）
1995年生。其創作包括繪畫、裝置、影像、身體等多種媒介。近期作品常以觀察、介入的角色，探究人與人、人與環境之間微妙且複雜的關係。在粗礪的表達中透露著個性化的溫柔與殘酷。2018年於湖北美術學院中國畫系獲學士學位，2020年於香港城市大學創意媒體學院獲碩士學位。現工作生活在陌生的家鄉廣州。
Amaranthine
馬不停蹄 
Chen Jiexiao 陳傑孝
​Singapore 新加坡 | 2021 | 15'6
Synopsis 簡介
From observations of daily life in Guangzhou, to chilling conciliation with the untold sacrificial stories beneath urbanisation. Smell the flower's fragrance, taste the bruise and blood.
從注意著廣州的日常，投射出城市背後的血肉必經之路。百世之留芳，建立於何等重冤上。時代變了遷，犧了人為牲。

Chen Jiexiao
At present the artistic director of collective Miao Dance, Jiexiao is also the director of production house Rice Bowl Pixels, and as well as swimming instructor. He has collaborated with visual artists, presented his own full-length commissioned productions including a full-length duet, and teaches workshops internationally. His dance films have been selected for more than 50 film festivals globally. Jiexiao is primarily concerned with topics related to the human condition, in particular notions of loneliness

陳傑孝
現為舞團＂淼舞＂藝術總監，傑孝兼任攝影公司Rice Bowl Pixels主導, 也同時是游泳教練。2017年9月受新加坡國立大學藝術中心委約,展出完整版作品「How To Be Alone」。同年，展出完整版雙人舞作品「Corked」。2019年，他二度與視覺藝術家Jaxton 蘇敬翔合作呈現了探索後殖民主義的作品「Vestige – Interstices」, 也在同年三度赴廣州教舞蹈以及舞影工作坊，並呈現作品。2020年，他與戲劇導演Richard Chua, 多媒體藝術家Urich Lau, 音樂家Andy Yang, 服裝設計Eve Tan合作，呈現了網上完整品"Vortice Voyeur"。 他的舞蹈影像在50多個國際影像節上獲得眾多獎項和榮譽。他對人類處境尤其關注，後期重點探究對孤獨與變化無常的理解。
Hybrid Motion
舞影·混雙​
“Hybrid Motion” is co-commissioned and co-produced by CCDC, West Kowloon Cultural District and Cinemovement
《舞影·混雙》由CCDC、西九文化區及Cinemovement共同委約及製作
Till Then, Awakening in a Dream
再見，遊園驚夢​
Liao Jiekai (Singapore) / Mui Cheuk-yin
Hong Kong | 2019 | 23'
Subtitles: Chinese & English
Synopsis 簡介

​Mui Cheuk Yin’s dance solo “Awakening in a Dream” was a defining work of her career that she performed numerous times across three decades. Mui’s relationship with the work evolved over time as she came to view both the character and the dance from the position of age and lived experience. In this film, multiple incarnations of the dance are performed, filmed, spoken, taught and their relationships examined through sound and image editing.

​梅卓燕的經典之作──個人獨舞《遊園驚夢》，在過去的數十年間她已表演過無數次。因此，她和作品的關係也隨著時間的推移而演變，逐漸從年齡和生活歷練的得著來看待故事人物和舞蹈。在《再見，遊園驚夢》中，舞蹈中各種特殊狀態得以被表演、拍攝、交談和教授，並且透過聲音和圖像的剪輯來跡查它們之間的關係。
Fish 
​魚
Russell Morton, Max Kin-wai Lee
Singapore, Hong Kong | 2019 | 15'
Subtitles: Chinese & English
Synopsis 簡介

The film experiments with 10 scenarios using the concept of looping and repetition that explores the idea of mortality with fish as the symbolic connection.
生而為人
何以為家
牢籠相視
互嚥其身
Ward 11 
​一一
Tsang Tsui Shan, Aaron Khek Ah-hock,  Ix Wong Thien-pau
Hong Kong, Singapore | 2019 | 16'
Subtitles: Chinese & English
Synopsis 簡介

​Aloneness is not the same as being lonely. Lying beneath the white sheets, the 11 holds the tale of forbidden love, unconditional love, in dreams and in reality, always together forever apart. Tracing and arresting a dance couple’s shadows, encountering the dance, trekking the terrains of their adventures. Lying motionless in 11, the lovers listen, whisper, even at the dullest moments, words of love, conversations continue to flow, laughter fills the ward.

孤單的狀態無關於孤獨。《一一》講述了被禁止的愛和無條件的愛，在夢中或在現實，永遠在一起也永遠分離。在白無暇的床單上，追踪和捕捉一對舞伴的影子，舞蹈引領著二人穿越艱險的旅程。《一一》代表著二人，在他們愛的國度裡，彼此靜悄悄地聽聲低語，儘管在最枯燥乏味的時刻，愛的話語、對話和笑聲依舊沒有止息。
Someday I Will Become a Rock 
​一棵樹
Cheuk Cheung,  Elysa Wendi
Hong Kong, Singapore | 2019 | 19'
Subtitles: Chinese & English
Synopsis 簡介

We see a rock
It transcends languages and cultures
It traverses time and space
Perhaps it has its own nature and memories
觀察樹的枝幹與根部，你能看到樹的發展歷程，你能看到樹的歷史； 當一棵樹被移植到另一塊土地上，那棵樹將會長出味道不同的果子，他/她將不再是過去的那棵樹。
Look Two Ways Revisited
相‧人‧再起舞
Look Two Ways Revisited is (re)created from the two-channel installation work Look Two Ways (2017). The original work – comprising 10 moving-image portraits by five filmmakers, Tsang Tsui-shan, Hugh Cho, Elysa Wendi, Chiu Chih-hua and Remu Iwai, who each created two portraits of contemporary dance artists in Hong Kong – explored the idea of portraiture in response to a provocation by Australian choreographer/filmmaker Sue Healey. Look Two Ways Revisited is a new cut of the original films and offers a fresh look at the backgrounds and philosophies of the same group of dance artists from the perspective of Hong Kong today.
Sue’s provocation to the filmmakers in 2017:
Portraits can reveal unspoken and powerful ideas about identity – creating deep connections between the observer and the observed. A portrait fundamentally involves the act of seeing and being seen. It requires a deep analysis of a person, revealing layers of ideas about the self, and our relationship to the world we live in. Using the unique landscape and history of Hong Kong, create two short portraits that use movement as the language to portray identity.
《相／人／再起舞》源於曾翠珊、曹德寶、葉奕蕾、丘智華及岩井Remu 2017年製作的《相／人／舞》雙頻道錄像裝置。五位舞蹈影像導演回應澳洲編舞及舞蹈影像導演蘇・希利所提出的「人像概念」，各自拍攝多位當代香港舞蹈藝術家的錄像，組成十幀流動人像 。《相／人／再起舞》是《相／人／舞》的延續，導演重新剪輯影像，以嶄新角度呈現今天香港舞蹈藝術家的面貌和心法。
蘇・希利在2017年提出有關「人像概念」的課題：
人像能夠表達難以言傳同時極具力量的身份概念，為觀察與被觀察雙方建立深厚聯繫。人像的本質涉及看見與被看見，要求我們對他人深入分析、為自身揭示不同意念，以及尋找與身處世界的種種關係。作品中透過香港獨有的景觀及歷史為本，創作兩段人像短片，以動作語言來探討身份概念。
On the ___ home
無名路
Chiu Chih-hua | Taiwan | 2019 | 6'
Featuring Artists: Lim Wei-wei, Cai Ying
​
Synopsis 簡介
Memory and the body, the carriers of life, wandering in the vast and mighty endless fog. If the city is an intermediary, can people in different circumstances find shelter on the unnamed road?
記憶與身體作為生命的載體，徜徉在浩蕩無涯的大霧中。
如果城市作為一個中介，身處不同境遇的人，在無名的路上，可否找到屬於自己安身之所？
Stay If You Can / Go If You Must
記憶中混濁的霧是我的畫像
Elysa Wendi | Hong Kong / Singapore | 2019 | 12'
Featuring Artists: Virginia Chu Sau-man & Elaine Kwok Hiu-ling
Synopsis 簡介
For me, a portrait is the essence of how we are remembered.
A memory frozen at the point when soul and thought converge in time and space.
Memories can be sentimental and deceptive.
Questioning existence and perspectives, I hope to capture two Hong Kong dance artists in different states of water.
One in the frozen state of ice, the other in the diffuse state of vapour.
Both states impermanent.
對我來說，「人像」是如何記著某個人的本質。
又或者是一個記憶的凍結，當她的靈魂和思維在某個時空相遇後。
記憶總是感性的，卻有欺騙的可能。
對其存在和觀點抱有疑問的時候，我希望借助水的不同形態去捕捉兩位香港舞蹈藝術家：
一位處於寒冷的冰封狀態，另一位在煙霧彌漫的混亂中。
同樣都是一閃即逝。
Jyu4 Jan4 Soeng5 Saan1 
​如人上山
Hugh Cho | Hong Kong | 2019 | 7'
Featuring Artists: Hochi, Steve Ng, Kenneth Sze, To Chi-sing
Synopsis 簡介
The mountain embodies the five aggregates: form, feeling, perception, volitional action and consciousness. The mountain embodies the ego.
People climb mountains seeking self-cultivation and a path to freedom.
When they are forced to climb in panic, they find their own strength.
「山」，就是五蘊山，色、受、想、行、識，我們的自我。
上山即自我修行，各自努力，尋找自由之路。
雞飛狗跳之際，當如兄弟爬山，各自努力，以求決了。
Isle/Alley 
​島與巷
Remu Iwai | Hong Kong | 2019 | 15'
Featuring Artists: “Alley” Kenny Leung & “Isle” Yang Hao
Synopsis 簡介
It seems like we’re in a narrow alley
Or like we’re the last creature in an uninhabited isle
Extrusion
Being pushed at the edge of our city
Exile
Getting into self-imposed exile at the end of time
Poets and dreams
Imprisoned travellers and voices
Dance Dance Dance!
Here and now
Two of the different worlds
Peeking at their eternity or glimpse of life
我們似是身處窄巷
也像永生續活在無人的島嶼
擠壓
在城市的邊緣被擠壓
放逐
在時間的盡頭自我放逐
詩人和夢
被囚禁的旅人和聲音
舞舞舞吧！
兩種時刻 兩面世界
窺視生存的一個瞬間或永恆
Encounter 遇
Tsang Tsui-shan | Hong Kong | 2019 | 6'
Featuring Artists: Mui Cheuk-yin & Lau So-kam
Synopsis 簡介
Exploring the story of two generations of dancers and their experience of Hong Kong, Encounter is a dance dialogue between Mui Cheuk-yin and Lau So-kam, her first teacher after her arrival in the city. Both overseas Chinese – Mui is originally from Indonesia and Lau from Myanmar – they connected through dance. Getting to know each other through movement and stillness, through the body and over the course of time, they found mutual support and consolation.
『遇』嘗試探索兩代舞者與香港之間的故事，請來梅卓燕與她於香港的第一位老師劉素琴女士一起舞動。同是華僑的兩位舞者分別來自印尼與緬甸，梅媽媽來自印尼到中國，劉老師來自緬甸到中國，其後她們都來到香港，舞蹈把二人連結。動與靜之間觀照彼此。兩女性的肌膚說著她們的故事，時間的流動，舞動的身軀交換著師徒之情，亦帶著異鄉人之間的互相慰問。

Look Two Ways Revisited is commissioned by West Kowloon Cultural District
《相/ 人/ 再起舞》由西九文化區委約
Beyond Labs
跳出實驗室
​A Conversation with Elysa Wendi, Director of Cinemovement
​與Cinemovement總監葉奕蕾對話
On top of the screenings, Elysa Wendi will share with the audience online about her experience of curating lab creations on 9 Jan 2021. She will talk about how lab creations can go beyond geographical restrictions and the status quo under challenging conditions and cultural differences.
Cinemovement 的總監葉奕蕾 (Elysa Wendi)將在1月9日下午於線上與我們分享這些年在不同國家和地區策劃舞蹈實驗室的苦樂逸事，以及在有限條件下創作出來的作品，如何迸發出無限可能「跳出」實驗室，跳出框框，跳到世界各地繼續放映和發展，探討舞蹈影像作品的生命力和不容小覷的可能性！
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