CURATOR & PROGRAMMER
Cyntia Botello Festival Director
PROGRAMMERS SWEDISH SELECTION
Klara Berggren
Klara Berggren has many years of experience as a dance teacher for both children and adults, mainly in West African dance. She works as a program producer and museum educator at Dansmuseet in Stockholm. And she has also worked as freelance photographer for many years and is a trained media producer. Together with Cyntia Botello, Klara is one of the permanent jury members of selecting the Swedish category and winners. ScreenDance Festival and Dansmuseet started to collaborate in 2015.
Cyntia Botello
Cyntia Botello is a dancer, choreographer and filmmaker. She is the artistic director of ScreenDance Festival in Stockholm since 2014. She has a master degree in didactics from the Stockholm University of the Arts. Cyntia has been, during the past years, working with community dance projects. She create projects to engage participation among youngsters and adults. She works with choreography within cinematic.
WELCOME TO THE 9TH EDITION OF SCREENDANCE FESTIVAL ONLINE!
As we step into our 12th year, we celebrate over a decade of showcasing the dynamic interplay between dance and film. It has been an extraordinary journey, and we take immense pride in the milestones we have reached. Our heartfelt gratitude goes to our esteemed partner, Dansmuseet in Stockholm, whose steadfast support has been integral to this festival’s growth.
We extend our deepest appreciation to the visionary filmmakers who have shared their remarkable work with our audiences. Their films have been instrumental in shaping ScreenDance Festival into a platform that honors the artistry and innovation of dance on screen. Through the fusion of movement and cinematography, these works captivate and inspire, offering audiences a deeply resonant visual and emotional experience.
We are also profoundly grateful to our audiences, whose enthusiasm and commitment continue to be the lifeblood of our festival. Your presence and engagement fuel our mission, and we are truly thankful for your unwavering support.
This year’s festival will take place in collaboration with with Dansmuseet and Kungholmens Kulturhus.
On April 29th, we have the Festival Night! This evening will feature a curated showcase of standout films from the International and Swedish Selections
Looking ahead, we are excited to extend our celebration of dance film beyond Stockholm. On June 5th, we proudly present ScreenDance Turné at at Scenkonstbiennalen 2025 - Skärmen som scenen - en visuell upplevelse (The Screen as the Stage – a Visual Experience). This special event will further highlight how, through the screen, the stage becomes boundless, and each frame transforms into a dance floor where art and technology meet.
Thank you for being a part of this incredible journey. Your support ensures that dance film remains a dynamic and vital art form, sparking creativity and enriching lives worldwide. Let us come together to celebrate another inspiring year of dance on screen. Enjoy the festival!
CYNTIA BOTELLO Founder and Director ScreenDance Festival
INTERNATIONAL SELECTION 1
TUESDAY April 29th 18.00-19.10
ECHO
Director: Anthony Morigerato/Producer: Anthony Morigerato
Dancers: John Michael Fiumara & Peter Francis James
USA – 12’54
MOUTYA LAPOUD
Director: Steve Woods/Dancer: Denis Rose
Camera: Sophie Perolari
Seychelles – 7’29
BLIND DREAMERS
[•32°N 145°W•]
Director: Sandra Geco/Dancers: Jean-Yves
Phuong, Sandra Geco & David Masson
France – 6’08
BOLERO.S
Director: Mehdi Kerkouche
Producer: Bénédicte Buffière
France – 4’15
CUT ME SUMMA DAT NOISE
Director: Cara Hagan/Producer: Jeanette Bonner/Dancers: Deborah Mitchell, Margaret Morrison, Lisa LaTouche, Alexis Robbins, Adante Power, Kyleigh Vickars, Rae Walsh, Dawn Drake, Usman Salahuddin, Minerva Johnson, Jackie Coleman & Cara Hagan
USA – 6’11
FORWARD BACK
Directors: Mistaya Hemingway & Kaveh Nabatian/ Dancers: Mistaya Hemingway, Erin Flynn, Isabelle Poirier, Bernard Martin, Lucie Grégoire, Raul Human & Diego Cervantes
Canada – 13’22
FR:AGILITY
Director: Amanda Tan/Dancer: Jonit On Composer: Louis Quek/Cinematographer: Rachel Liew/Editor: Siti Khairunnisa/Colorist: Eugene Seah/Makeup artist: Kenneth Chia
Singapore – 7’ 50
BURN FROM THE INSIDE
Director: Mthuthuzeli November
Executive producer: Cassa Pancho/Producer: Richard Bolton/Director of Photography: Nauris Buksevics/Light design: David Plater
UK – 9’59
HYBRIS I
Directors: Corentin Kopp & Aaron Arnoldt Alexander
Choreographers & Dancers: Louis Stiens & Shaked Heller Music: Fabien Alea
Cinematographer: Corentin Kopp
Editor: Florian Kläger
Germany – 6’11
SWEDISH SELECTION
TUESDAY April 29th 18.00-20.45
0,3p/km2
Directors: Jasmine Kristina Skog & Juhán Niila Stålka
Dancers: Norea Humla & Ebba Svanberg
Voiceover: Erika Hessmo
Music: Nioki Beats
Sweden – 7’19
LIVING SPACE
Director: Anouk Hillerström
Perfomance: Anouk Hillerström & Christina Johansson
Sweden – 2’53
PLACE OF INACCESSIBILITY
Director: Hilde van Amelsvoort
Dancer: Mareile Gnep / Composer: Mirja Palo
Photograhy: Hans-Olof Utsi
Editor: Mathias Fjellström
Sweden – 7’07
ROOTS
Directors: Diego Abbati Loureiro & Hugo Melin
Performer: Takuya Fujisawa
Producer: Francesco Scavetta
Sweden/Spain – 6’14
SOFT SPACE
Directors: Minna Elif Wendin & Jannine Rivel
Dancers: Minna Elif Wendin & Jannine Rivel
Filmmaker: Amelia Finngåård
Sweden – 4’00
ANTI-ILLUMINATION
Producer:/Director: Martin Johansson
Dancer: Feri Sri Danarto
Music: Jesper Cederholm
Editors: Martin Johansson & Siri Ternström
Sweden – 6’42
DELIRIOUS
Director : Hanna Kortus & Felicia Nilsson
Dancer: Felicia Nilsson
Sweden/Germany – 3’00
MOVING ECHOES
Directors: Sosi Chamoun
Performance: Klaudia Rychlik
Sweden – 5’35
SHAPING CHANGE
Director: Anna Fabricius / Producer: Vilde Wingerei Hylleseth / Executive producer: Mira Helenius Martinsson / Line producer: Marion Rastouil
Skåne’s Dance Theatre / Choreographer: Marion
Rastouil / Composer: Jakob Lindhagen
Sound designer: Yvonne Stenberg
Editor: Thomas Kristian Larsson
Sweden – 10’49
BARN
Directors: Annika Boholm & Kersti Grunditz
Brennan/Performance: Sven Hellström
Music: Cecilia Öhrwall/
DANCING WITH THE DEAD
Directors: Lava Markusson, Michael Tang & Diego Monsiváis
Sweden – 1’29
Sweden – 3’55
BREACHING NIGHT
Director: Thomas Zamolo
Choreographer & Dancer: Anna Pehrsson
Music: Camille Prieux / Musician: Stina
Hellberg Agback
Sweden – 5’13
DETESTED
Director: Linnéa Sonka/Dancers: Rebecca Livaniou, Tove Rådmark, Amanda Rodriguez, Ana Strandberg, Alma Hakim, Emmy Wiman Westberg, Ronja Strid, Emma Graufelds, Julia Leoni, Kirsi Kekki, Sofia Almfjord, Linnea
Sällqvist, Mattis Johansen, Omar Velasquez
Rojas & Carl Selvén
Director Of Photography: André Forsström & Edit:
Sweden – 10’29
BRAVE STEPS
Director: Wilma Casal
Dancers: Amanda Egan, Devin Loh, Audrey
Lipson & Caiti Smith
Cinematographer: Natassja Ebert
Editor: Ann M Mewes
Puppeteer: Theresa Linnihan
Voice: Laila Berzins
SCENKONSTBIENNALEN 2025 ÖSTERSUND
Läs mer här: https://scensverige.se/program-scenkonstbiennalen-2025/2025-06-05-1500-screendance-turne/
DANCE FILMS OF THE INTERNATIONAL SELECTION
THURSDAY June 5th 15.00 - 16.00
USA 14’36
INTERNATIONAL SELECTION 2
The ScreenDance Festival invites you into a magical world where dance and film merge into a unique visual experience – works where movement is captured, enhanced, and transformed through the language of film.
Through the screen, the stage becomes limitless, and every frame is transformed into a dance floor where art and technology meet.
From poetic solo pieces to dynamic ensemble productions, from abstract movement experiments to stories in motion – our program offers a diverse experience for both dance lovers and film enthusiasts.
THE JOY AND SORROW OF TIME
Director: Sara Jordan
Denmark – 4’05
LES COEURS SIMPLES
Director: Maxime Mathieu Quiroga
Dancers: Alexia Barré & Florent Operto
Composer: Fabrice Aboulker
France – 4’44
ÖSTERLEN
Director: Tori Lawrence
Dancers: Ellie Goudie-Averill & Cole Bjelic / Music: Vicki Brown
USA – 9’04
BACH [2]
Director: Filipe Faria
Assistant: Rita Santos Dancer: Fábio Krayze
Music: Sete Lágrimas [consort]
(Album BACH MU0143/2024)
Production Company: Production Company
Portugal – 5’38
RUINS WITHIN RUINS
Director: Lefteris Parasyris
Choreographer: Dimitra Daskalaki
Music: Venus Volcanism & In Atlas
Greece – 9’23
KINGDOM
Director: Jagoda Turlik / Producer: JaTu Film Jagoda Turlik & Ryszard Brozek / Dancers: Julia Domagalska, Aleksander Staniszewski, Marek Szajnar, Dogs: Bzura & Stefan ”Masenflora” FCIAgnieszka Górna / Choreography: Julia Domagalska, Marek Szajnar, Aleksander Staniszewski & Jagoda Turlik Camera: Piotr Werewka / Editor: Felix Mirosław Mamczur / Music: Tilman Sillescu
Sound Design: Felix Mirosław Mamczur / Post-production: Higgs Media OU Felix Mirosław Mamczur. Poland – 8’25
CORRALLING OF CIRCLES
Director: Siye Tao / Producers: Siye Tao & Qingwen Yan / Choreographer: Siye Tao, Theo Qu & Qingwen Yan
Composer: Kevin MacLeod
China – 4’07
DANCE FOR CAMERA
Director: Mitchell Rose
Performer: Douglas Dunn
USA – 1’ 53
UN-CONTAINED
Director: Christina Hughes
Producer: Irvine Valley College Dance Department
Dancers: Savannah Jones, Amy Lin, Nathan Waters, Sabrina Campaña & Christina Perez
Choreographer: Christina Hughes
Original score: Matthew Mason
Costume designer: Christina Perez
USA – 8’ 00
VEINS (Premiere)
Production Company: Naomi Filmproduction
AB Original Score, Photography & Editing:
Alfons Karabuda/Choreographer & Dancer: Helene Karabuda
Music Rights: Naomi Musikförlag AB Sweden – 2’41
VEINS is a dance film exploring what lies beneath the surface — beneath the skin. It speaks of strength, vulnerability, and inner conflict. In essence: life in motion. Movement and music flow like creative undercurrents through a confined yet at times seemingly infinite space. A meeting of body, sound and space in a world where the visible and the unseen exist side by side.
HELENE KARABUDA
is a dancer, choreographer, and project leader. She completed her training at the Ballet Academy in Stockholm in 1988 and began working as a freelance artist within the dance field. From 1997 to 2006, she worked as a dancer, soloist, rehearsal director, and choreographic assistant with E.L.D., performing in the repertoire of Efva Lilja. During this period, Helene took part in nearly 600 performances across some twenty countries, earning widespread acclaim from both audiences and critics. Since 2006, she has led artistic processes at Share Music Sweden, focusing on inclusion beyond conventional norms, resulting in public performances.
As a dancer, she appears not only in her own productions but also in performances with Kompani Nomad, and since 2024, she has resumed her collaboration with Efva Lilja. An example of Helene and Alfons Karabuda’s previous dance film work is Eye of the Norm, which was awarded first prize at the Screen Dance Festival in 2017.
ALFONS KARABUDA
is an awarded composer with over 35 years of experience creating dramatic music for film, theatre, and dance. His compositions have been featured in productions by the Swedish National Theatre (Dramaten), Dansens Hus, Stockholm City Theatre, Strindbergs Intima Teater, the BBC, and Zentropa. With a deep-rooted passion for the performing arts, he holds a particular affinity for dance as a medium of expression. In addition to his artistic work, Karabuda has held numerous international positions, including serving as a UN expert on artistic freedom and freedom of expression, and has long represented the interests of creators at the global level.
SVENSKA FILMSKAPARNA OM PROCESSEN BAKOM
SINA DANSFILMER
Swedish filmmakers on the process behind their dance films.
1. Vilket tema undersöker du/ni i er film, och varför var det viktigt för er att utforska just detta?/
What theme do you explore in your film, and why was it important for you to delve into this particular subject?
2. Varför fick du/ni idén till filmen? Fanns det en specifik händelse, känsla eller inspiration som satte igång processen?/
How did you come up with the idea for the film? Was there a specific event, emotion, or inspiration that initiated the process?
3. På vilket sätt formade koreografi, plats och kamera det slutliga uttrycket?/
In what way did choreography, location, and camera work shape the final expression of the film?
4. Vad vill du/ni att publiken ska bära med sig efter att ha sett din/er dansfilm? Finns det en specifik känsla, tanke eller fråga ni vill lämna dem med?/
What do you want the audience to take away after watching your dance film? Is there a specific feeling, thought, or question you hope to leave them with?
Annika Boholm & Kersti Grunditz Brennan (BARN)
Starting from an idea of embodying hope in a time of darkness, we worked from principles of care: filming in an unaltered location, inviting collaboration with people nearby, creating from improvisational impulse. We allowed restrictions of time and resources to activate a body of events and relationships through movement and framings rather than cause and effect, favoring presence in the moment over predetermined outcome.
The iterative storymaking through montage started from a reservoir of fiction footage (without given order, infused with the underlying idea) in a co-creational relay of trust, leaving cracks for the audience to co-create story and meaning.
BARN was created for the 2024 INEFF 24/7 Filmmaking Competition. On July 8th 2024 at 10:43, after pledging our interest in participating, we received instructions. Work from one of three predetermined “abstract themes”, one of three creative/ technical limitations, and one of three provided statements. Submit a film under 5 minutes by Midnight 14 July (UK time).
We chose the theme Behind the Closed Door, filmed only extreme close-ups and incorporated the line “You just play with me. I’m not a toy.”
Filming three days in Gotland, parallelly editing in Brussels, asking our longtime collaborator to write music – she brought an unpublished song written in Sörmland.
Diego Abbati Loureiro & Hugo Melin (ROOTS)
Roots delves into that moment of arriving to a new place — whether it’s a house, a city, a country — where everything seems so perfect that somehow your body has a strange reaction to it and has a hard time adjusting to this place.
It was important for all of us — dancer and filmmakers — to create this piece collaboratively and understand what we wish to convey. Through our conversations, we discovered common ground in the theme of immigration, with Taku coming from Japan, Diego from Spain, and Hugo living in the USA and Australia, far from his homeland. This led us to explore how estrangement can be expressed through bodily expressions.
The location was crucial for this piece. We managed to get a stunning Airbnb in the countryside of Tanum, where everything looked so neatly decorated and minimalistic that it seemed too ideal. Taku’s performance captured the sense of alienation that comes with being in an entirely new environment, while Hugo and Diego used the camerawork to build a progressively eerie experience, especially in the last scenes.
We’d like the audience to feel more estranged as the piece continues, and to get a sense of disorientation that may provoke questions regarding belonging and isolation. A feeling of wanting to go back somewhere you don’t know anymore.
Anna Fabricius (SHAPING CHANGE)
Shaping change is about the female body and, more specifically; how it changes throughout life. The film explores the feelings arising from bodily change in an audiovisual way. It builds upon a fear of losing control over the body - that the body will and going to change throughout life, both in looks and physics.
The theme around body transformation emerged when I reflected on the various phases a woman goes through her life and how the body changes throughout those experiences. These phases are often beyond our control and can feel uncomfortable, lonely, or shameful. It felt important to create a film addressing this, a woman’s life in natural transformation.
Shaping change is a collaboration with Skånes Dansteater in Malmö. Movement was therefore an important part from the beginning. For this project I wanted to explore deeper in the emotional resonance that dance and movement can create. My intent was to create a different perspective where movement would be integrated in the documentary language, and work as a response or expression to emotions.
A huge motivation for my work is to inspire others to become aware of their own body image and to visualize a new perspective on the body. The goal of the film is to inspire people to a more gentle and accepting view of the body and to welcome transformation as an essential part of life. We always move forward, willing or not. Through the phases of life, we must therefore get to know our bodies over and over, and I believe we can learn to befriend change just as we can learn to be friends with our bodies.
Sosi Chamoun (MOVING ECHOES)
Moving Echoes är en film som undersöker hur vi som individer relaterar till varandra genom tid och gemensamma upplevelser. Filmen bygger på soloverket The Garden, Me and My Grandmother, där Klaudia Rychlik utforskat teman som arv, minne och relationer mellan generationer. Vi upptäckte att dessa teman var någonting som vi som filmskapare och danskonstnär har gemensamt, som vi kunde mötas i och gemensamt jobba med.
Vi har varit vänner länge och hade även jobbat ihop tidigare. Idén växte ur att vi pratade om att göra en kort dansfilm ihop och då bollade vi vad som kändes fint att jobba med tema-mässigt. Klaudias soloverk blev naturligt utgångspunkten för vår process. Koreografin speglar ibland andra rörelser och mönster som finns i arkivmaterialet som loopats för att likna en dans. Arkivmaterialet skapar en känsla av nostalgi som koreografin bidrar till. Vi tänker att platserna som dansen utförs på ger en känsla av samhörighet med arkivet och naturen.
Vi hoppas att publiken som sett Moving Echoes upplever någon sorts känsla som dom bär med sig. I bästa fall har dom fått smaka på en karamell som dom vill ha mer av.
Linnéa Sonka (DETESTED)
DETESTED is a film, shedding light on gender-based violence and the normalization process. Violence against women is present in every society around the world and takes many forms. Globally, one in three women -approximately 736 millionis subjected to physical or sexual violence by a man at some point in her life. The film takes viewers through the three phases of the normalization process: boundaries are shifted and erased, women are isolated, and the cycle between violence and affection becomes routine. These elements are crucial to understanding how violence is normalized and selfesteem and identity are gradually eroded. DETESTED immerses you in these three stages, illustrating how the abnormal becomes normalized.
The idea for the film came from a deep place of anger, sorrow, and frustration. Seeing the constant prevalence of gender-based violence and the lack of real action to stop it enrages me. This film is my response to that – a call for change fueled by the urgent need to confront this issue head-on.
Choreography, location, and camera work were essential in expressing the victims’ psychological and emotional journey. Each location was thoughtfully chosen, based on real stories I encountered during my research. The choreography reflects the three phases of the normalization process, developed through various methods I explored. For example, the dancers moving on the boxes symbolize the loss of identity and self-worth, while the flowers represent both hope and death. The intimate close-ups of the camera work draw the viewer into this personal and complex struggle.
I hope the audience walks away from the film with a sense of discomfort, but also a drive to reflect and act. My intention is for the film to encourage a deeper understanding of how violence becomes normalized, while also prompting viewers to question their own role in perpetuating harmful behaviors and societal norms.
Hanna Kortus & Felicia Nilsson (DELIRIOUS)
Eftersom jag själv lever med ADHD ville jag utforska komplexiteten i mental mångfald, självuppfattning och kampen för att hitta balans. Detta tillstånd missförstås ofta eller reduceras till enkla etiketter, men det är så mycket mer än uppmärksamhetsbrister och hyperaktivitet - det är något djupt förkroppsligat. Vi ville översätta utmaningen att navigera mellan inre och yttre realiteter till ett fysiskt uttryck och göra det påtagligt och kännbart.
Idén växte fram ur vårt intresse för att utforska hur rörelse speglar inre kaos. Vi inspirerades av upplevelsen av att navigera i en värld som ofta kräver stillhet och linjärt fokus - i kontrast till ADHD:s flytande, ständigt föränderliga natur.
Den orangefärgade bron spelar en avgörande roll som både bur och passageett gränsland där dansaren navigerar i sitt eget sinne. Koreografin och kameraarbetet är i nära samspel med varandra, och kamerarullarna vänder upp och ner på världen på ett repetitivt sätt. Kameran fungerar som en aktiv kropp i föreställningen, den utmanar dansaren och reagerar dynamiskt snarare än att passivt observera.
Vi vill att publiken ska uppleva kroppsligheten i inre tankar, självuppfattning och instabilitet. Förhoppningsvis lämnar det dem med frågor: Var går gränsen mellan den vi är och det vi påverkas av runt omkring oss? Vad förlorar vi - och vad vinner vi - när våra tankar vandrar?
Anouk Hillerström (LIVSUTRYMME)
Jag undersöker temat kring koreografin som uppstår i vardagen.
Det kändes viktigt eftersom det är i vardagen det stora händer - särskilt i köket. Det är där vi bygger relationer, samlar kraft och får rå om varandra.
Inspirationen kommer från min egen relation till dans i kök. Köket har bland de bästa dansgolven! Man hackar en lök, småpratar lite, möts i kylen, får feeling till musiken – livet pågår.
Det uppenbara är ju platsen – köket. Men också kamerans placering – publiken har bjudits in till en plats vid köksbordet.
Jag hoppas att publiken ska känna att de hade en skön stund i köket. Att den slår an något som känns varm och tryggt.
PLACE OF INACCESSIBILITY
