Kalpana is a 1948 dance-drama Hindi film written and directed by noted dancer, Uday Shankar, his only film, and story revolves around young dancer’s dream of setting up an academy, a reflection his own, which he eventually did at Almora. It starred Uday Shankar and his wife Amala Shankar as lead, and a 17-year old actress Padmini making her screen debut.Kalpana was the first film to present lead actor as a dancer, that too Indian classical dance, and was entirely shot as a dance ballet and a fantasy.

Mary Wigman (13 November 1886 – 18 September 1973) was a German dancer, choreographer, and instructor of dance.A pioneer of expressionist dance, her work was hailed for bringing the deepest of existential experiences to the stage. She became one of the most iconic figures of Weimar German culture and is considered to be one of the most important figures in the history of European dance.

The first feature documentary about the life and career of Anna Halprin. The film takes its audience from Halprin’s initial explorations of dance in her childhood to the experimental performances conducted on a dance deck under Californian redwood trees, through her spectacular tours in Europe, her withdrawal from the stage due to illness, and, finally, her triumphant return.

Edgar Degas' beautiful paintings express a fascination with backstage life at the Paris Opera at a time when art was suppose to paint an embellished picture of the world. The film is about the meticulous research undertaken for a major American exhibition that overturned the stereotypical image of the painter of "pretty ballet scenes"

Considered to be one of the best films ever made in telugu, the movie deals with the character, of Sankara Sastry, who devotes his heart and soul (naadopasana) to Sangeet (divine music). At the height of popularity, he meets Tulasi (Manju Bhargavi)-dancer, who is also very interested in classical arts. Being impressed by Sankara Sastry's mastery over Sangeet, she tries to devote her entire life to learn and practice under his guidance. But as the caste-ridden society does not accept this union, she leaves Sastry's home only to come back after several years, this time with her son. In the meantime, Indian classical music takes a back seat with classical musicians finding it hard to earn their daily bread. Sankaram, son of Tulasi introduces himself as an orphan, finds a place in the master's house to learn Sangeet.

Live Recording from the Tanztheater Wuppertal. The café-apparently meant to resemble a real place-seems to be the canteen of a mental hospital. A small cast of inmates gives us intermittent doses of violent/apathetic behavior while a woman who may be a visitor scurries noisily about in high-heeled shoes. Music from Purcell’s operas drifts over the loudspeakers, doing its best to solemnize the goings on. ‘Café Müller,’ with its thin but flashy stick, is a how-to-make-theatre handbook. It enshrines the amateur’s faith in psychopathy as drama.

For the 20th anniversary of her Rosas dance company, choreographer Anne Teresa de Keersmaker created "April me," a piece for which she worked with her regular composer , Thierry de Mey. With this anniversary production, she marks a return to the very essence of her work, by creating a tight link between music and dance. For the first time, de Keersmaeker allowed a film crew access to her rehearsal studio to record her work with her dancers. And thanks to the collaboration of de Mey, the musicians of the Ensemble Ictus conducted by Georges-Eli Octors, the film captures the highly sophisticated creative process of the give and take between musical composition and choreography. The forging of a dance vocabulary, sound innovations, the choice of sets and costumes, the tensions before the premiere--this film reveals a work in the making, those privileged moments where experimentation is the driving force behind artistic creation.

The sexual desire of the other than normative body is still a taboo even in liberal societies. The dancer and choreographer Gerda Koenig brings the secret wishes out of the dark and into the light of the stage. The films shows her creating a new dance show in Sao Paulo, Brazil, which confronts the audience with provocative questions about our notions of body, beauty and perfection. At the same time the film takes a look at the more than hidden taboos of Brazilian society through the eyes of the dancers.