Duration: <\/strong><\/span>0:16:42<\/p>\nDirector:<\/span><\/strong> Vincent Ren\u00e9-Lortie<\/p>\nChoreography:<\/span><\/strong> Charles-Alexis Desgagn\u00e9s<\/p>\nCountry, Year:<\/strong><\/span> Canada, 2025<\/p>\nRRSS:<\/strong><\/span> IG @vincentrenelortie Fb @vincent.rl IG @la.distributrice.de.film<\/p>\nSynopsis<\/strong><\/span>
Spanish Premiere.<\/b> As the day ends for a 45-year-old office worker, he encounters the mysterious gaze of a chimpanzee, sparking a silent exchange that prompts him to make an irreversible decision.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/cuando-todo-se-destruya.jpg\" "\\"cuando-todo-se-destruya\\"")
<\/span><\/div><\/div><\/div>Cuando todo se destruya (When Everything is Destroyed)<\/h2><\/div>Duration: <\/strong><\/span>0:18:32<\/p>\nDirector:<\/span><\/strong> Antonio Barrero<\/p>\nChoreography:<\/strong><\/span> Roger Paredes, Carolina Aldunate, Indira Conde<\/p>\nCountry, Year:<\/strong><\/span> Bolivia, 2024<\/p>\nSynopsis<\/strong><\/span>
In a city on the brink of destruction, different characters survive, oblivious to the fate that awaits them.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/clown.jpg\" "\\"clown\\"")
<\/span><\/div><\/div><\/div>Clown<\/h2><\/div>Duration: <\/strong><\/span>0:01:40<\/p>\nDirector:<\/span><\/strong> Shanshan Jiang<\/p>\nChoreography:<\/strong><\/span> Artlist, Jessy Cheung<\/p>\nCountry, Year:<\/strong><\/span> United Kingdom, 2025<\/p>\nRRSS:<\/strong><\/span> LN @jessycheung<\/p>\nSynopsis<\/strong><\/span>
Spanish Premiere.<\/b> In a surreal fusion of live-action and AI-generated imagery, the film centers on a talented clown who gradually loses her sense of self in pursuit of audience approval. <\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/my-name-is-the-sound.jpg\" "\\"my-name-is-the-sound\\"")
<\/span><\/div><\/div><\/div>My Name is the Sound I Use to Introduce Myself<\/h2><\/div>Duration: <\/strong><\/span>0:09:00<\/p>\nDirector:<\/span><\/strong> Albert Rask<\/p>\nChoreography:<\/strong><\/span> Albert Rask<\/p>\nCountry, Year:<\/strong><\/span> Netherlands, Denmark 2023<\/p>\nSynopsis<\/strong><\/span>
A group of young men waltz in pairs as an allegory of growing up.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/syncope.jpg\" "\\"syncope\\"")
<\/span><\/div><\/div><\/div>Syncope<\/h2><\/div>Duration: <\/strong><\/span>0:21:00<\/p>\nDirector:<\/span><\/strong> Linus von Stumberg<\/p>\nChoreography:<\/strong><\/span> Sarafina Beck, Linus von Stumberg<\/p>\nCountry, Year:<\/strong><\/span> Switzerland, 2023<\/p>\nRRSS:<\/strong><\/span> IG @linus_vonstumberg IG @sarafina_beck<\/p>\nSynopsis<\/strong><\/span>
After Whim makes it through an unconventional audition for the dance piece Syncope, the choreographer remains unsatisfied with her full commitment. But what she and the other dancers experience in rehearsals is only a glimpse of the dark vision he will impose on them.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/better-not-kill-the-groove.jpg\" "\\"better-not-kill-the-groove\\"")
<\/span><\/div><\/div><\/div>Better Not Kill the Groove<\/h2><\/div>Duration: <\/strong><\/span>0:06:36<\/p>\nDirector:<\/span><\/strong> Jonathan Leggett<\/p>\nChoreography:<\/strong><\/span> Jonathan Leggett<\/p>\nCountry, Year:<\/strong><\/span> Switzerland, 2024<\/p>\nSynopsis<\/strong><\/span>
\nIn search of his identity through scootering and self-development, a young boy explores his relationship to his body and emotions. Composed of footage collected online, the film chronicles the character\u2019s attempts to navigate his existential dismay.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/crepitar.jpg\" "\\"crepitar\\"")
<\/span><\/div><\/div><\/div>Crepitar<\/h2><\/div>Duration: <\/strong><\/span>0:05:19<\/p>\nDirector:<\/span><\/strong> Leo Carre\u00f1o<\/p>\nChoreography:<\/strong><\/span> Anjah Ki-Hai<\/p>\nCountry, Year:<\/strong><\/span> Colombia, 2022<\/p>\nRRSS:<\/strong><\/span> IG @teatrolaconspiracion<\/p>\nSynopsis<\/strong><\/span>
The skeletal body suspended, observing itself as a creaking and decomposing corpse, weaves in its last breath the memory of a life fractured by the impotence of idealizing itself amidst a contaminated system, where it seeks to recompose itself from poetic planes that allow it to grant liberation through the transfer and re-signification of its own life experience.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/picturam.jpg\" "\\"picturam\\"")
<\/span><\/div><\/div><\/div>Picturam<\/h2><\/div>Duration: <\/strong><\/span>0:08:06<\/p>\nDirector:<\/span><\/strong> Eva Rezov\u00e1<\/p>\nChoreography:<\/strong><\/span> Eva Rezov\u00e1<\/p>\nCountry, Year:<\/strong><\/span> Czech Republic, 2025<\/p>\nRRSS:<\/strong><\/span> IG @evellinar IG @krystof_____cizek<\/p>\nSynopsis<\/strong><\/span>
Catalan Premiere.<\/b>The film is inspired by the theme of Leonardo da Vinci’s The Last Supper. The painting becomes only a starting point of inspiration; we try to transfer it, transform it and find a way to it through the language of film. It explores boundaries in the presence of several objects \u2013 the pictorial composition, the five dancers, their bodies and their movement.<\/p>\n<\/div><\/div><\/div><\/div><\/div>![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/no-hello.jpg\" "\\"no-hello\\"")
<\/span><\/div><\/div><\/div>no Hello<\/h2><\/div>Duration: <\/strong><\/span>00:00:33<\/p>\n
![](\"https:\/\/www.choreoscope.com\/wp-content\/uploads\/2025\/10\/a-dying-tree.jpg\" "\\"a-dying-tree\\"")
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