Since founding the physical theatre company Dos à Deux, Artur and André have made the camera their constant companion, documenting their lives, their travels around the world, and their creative processes. Over 28 years of rehearsals and touring, the award-winning artistic couple has built an intimate archive in which art and love intertwine both on and off the stage. It is from this unique body of material that the documentary emerges.
Rehan puts on a street mime show to earn money to buy a cake for his mother. The show is a success, attracting a large audience, and he even receives a business card from a famous mime. However, the money from his show is stolen. Despite this, with the remaining money, Rehan still buys a simple cake for his mother. The business card rekindles Rehan's dream of becoming a great mime performing on stage.
The arms move frenetically, become intermingled. Then they reduce. An imperceptible shape appears. Nevertheless there is only one body simply trying to collect one's thoughts.
A short film about communication.
This film chronicles a meeting: that of the Tarahumara Indians and a camera that looks at the people that are etymologically called "foot runners." Musical montage: steps rhythms, traditional gestures and postures.
Filmed in the parking lot of the Torrance Public Library shortly after its surface was repaired, Introduction to Crack Sealing traces the calligraphic gestures left by flexible rubberized asphalt. Devereaux’s camera follows the wavering lines, skipping from one to another, turning the utilitarian marks of maintenance into strokes of abstract drawing. Silent and pared down, the film reframes the parking lot as a field of accidental composition, where repair becomes inscription and the act of seeing becomes a study of gesture itself.
A non-narrative short film tracking the movement of a flock of women through a megalithic landscape. They appear to be working, enacting a cryptic ceremony with a sense of calm & purposeful labor. A score weaving together their breath & hums with sounds collected from the landscape: wind, Rattlesnake grass & their hands rubbing against stone. The women's gestures come from both work & dance – evoking the strange overlap between labor & ritual. This film began as a response to the physicality of daily life as a mother & the rhythm of these acts; the relentless repetition of parenting, working, tending the world with our bodies. This repetition can easily become vacant labor, but it can also transform into a kind of meditative, even transcendent ritual, a collective communion with the landscape & each other. ALMA offers itself as a companion piece to McKenna’s photographic rubbings, a glimpse into the same world from where her art arises.
Marta Cardoso, a young dancer from northern Portugal, moves through Lisbon with restless energy, between precarious routines, affections, and a daily life in constant imbalance. Dance becomes her refuge and her cry: a space where the body finds freedom and instinct, and where gesture replaces words. When dancing, she feels close to her inner animal.
Seven images, each staging their own disappearance.
