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A series of on the street interviews with people celebrating the Washington Redskins winning the 1988 Superbowl. The questions range from "Are you a Redskins fan?" to non-sequiturs like "What is your favorite fish?" Interviewees are repeatedly asked to show off their beer bellies.
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Contains two complete 2 & 3 Mile Walks
Filmmaker Alicia Dhanifu, who appears in director Jamaa Fanaka’s Emma Mae, constructs a rigorous and beautifully rendered history of belly dancing — its roots and history, forms and meanings. The filmmaker performs this art as well, alone and with other dancers. —Shannon Kelley
For the free spirits and the urban rebels, for Beautiful Freaks of every persuasion who revel in the unusual and the unique: welcome to an offering of self-expression through dance. Join Tempest, a pioneer of Gothic Bellydance in the US, to learn steps and combinations based on the vocabulary of bellydance and adapted to look awesome on a club dancefloor. Belly dance is an ancient dance of sensuality, body awareness, and cultural blending. In the course of its long history, it has experienced celebration, exaltation, rejection, and ban. It has been worshiped. It has been damned. It has traveled continent to continent and become infused with the wealth of many cultures.
A chance meeting between the supercool, worldly wise Belly and the awkward, heart-broken Femur becomes an afternoon roam around the city. Their day culminates into what would seem to be a simple gesture to most but proves pivotal for these two.
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A documentary about the Italian cinema as art form and industry.
Interweaving family lore, mythology, science fiction, and digital abstraction, Thuy-Han Nguyen-Chi’s film follows the collaboration between the artist and her mother, Thuyen Hoa, who fled Vietnam after the end of the American War via a near-calamitous sea journey. Oscillating between voices, visual registers, and timescales—was it seven months or seven thousand years?— Into The Violet Belly offers up an image of its multiplicitous structure: a massive digital swarm, tiny avatars of migrating bodies, swimming in an infinite blue.
All kinds of people are waiting in seven different queues. The first person of each queue becomes the last of the next one, thus creating an enormous human line. But at the end of the line, it all begins backwards again.
Vincenzo Bellini wrote two tragic operas for Teatro La Fenice: I Capuleti e i Montecchi and Beatrice di Tenda. The first, composed in 1830 and to the story of Romeo and Juliet but not based on Shakespeare but rather on an early nineteenth-century tragedy by Luigi Scevola in a new production by Arnaud Bernard (direction), Alessandro Camera (sets) and Maria Carla Ricotti (costumes), co-produced with Fondazione Arena di Verona (where it was presented at the Teatro Filarmonico in November 2013) and with the Greek National Opera of Athens. The cast includes Jessica Pratt and Mihaela Marcu as Giulietta; Sonia Ganassi and Paola Gardina as Romeo; Shalva Mukeria and Francesco Marsiglia as Tebaldo; Rubén Amoretti as Capellio; and Luca Dall’Amico as Lorenzo, conducted by Omer Meir Wellber.