This in-depth documentary on the history of tap is an absorbing narrative about a quintessentially American dance.

Former Cunningham dancer Lise Friedman and director Maia Wechsler follow a group of New York City’s top modern dancers as they reconstruct RainForest, an iconic work by the legendary Merce Cunningham.

This special program features Oscar-winning filmmaker Spike Jonze as choreographer, filmmaker, and dance storyteller, presenting several of his greatest hits on a big screen, as well as a dance-themed montage created specially for this event.

Featuring New York City Ballet’s Prima Ballerina Tiler Peck and a diverse cast of world-class dancers from around the globe, Ballet Now provides a rare, unfiltered glimpse into the world of ballet and what it takes to create a one-of-a-kind dance extravaganza.

This film documents the unusual life of Vincent Warren, who danced under the baton of Igor Stravinsky; collaborated on a film with Norman McLaren; and had love poems dedicated to him by Frank O’Hara.

Three films illuminate the life and legacy of visionary ballet master August Bournonville (1805-1879)

Yuri Possokhov’s choreography for prima ballerina Yuan Yuan Tan mingles Japanese Noh theater and elements of Butoh with classical and contemporary ballet styles to create a powerful dance drama.

In 2014, after ten years of building his dance company in Boise, Idaho, to great acclaim, Trey McIntyre shut it down. Its sudden and mysterious end is the backdrop of McIntyre’s introspective documentary.

Choreographer Marta Renzi, a prolific director of shorts, makes an auspicious feature debut using a cast culled from the worlds of film, Broadway, and dance, creating a dreamlike story of friendship told almost entirely through movement.

Lucinda Childs, known for her cool minimalist approach, choreographed Beethoven’s Great Fugue for the Lyon Opera Ballet in 2016. Marie-Hélène Rebois was there to document the rehearsals and performance.

This is a detailed portrait of famous French-born dancer-choreographer Maurice Béjart (1927-2007), who brought a distinctive theatrical flair to his ballet and opera productions, and who was best known for his sensual tabletop ballet set to Maurice Ravel’s “Bolero.” Preceded by The Mime Marcel Marceau.

In 1958, Jerome Robbins’s “ballet in sneakers” became a hit and toured the world. In 2010, New York City Ballet dancers Ellen Bar and Sean Suozzi reimagined the Robbins choreography for the screen, with a new generation of City Ballet dancers.

In this intimate documentary, a group of kids from ages 5 to 15 reveal what it’s like to live with a variety of physical and developmental challenges, joining a team of dancers, helpers, and teen volunteers with an ambitious goal: a spring recital.

DFA Global provides a platform with screen dance partners and producers to screen films from all over the world. Inaugural selections hail from Canada, China, and Brazil.

The lives of dancers and other artists are explored in thirteen shorts that tell stories through movement.

Ten shorts focus on body movement and push the boundaries of cinematic form.

Can You Bring It traces the remarkable history and legacy of one of the most important works of art to come out of the AIDS era: Bill T. Jones’s tour de force ballet D-Man in the Waters.

Responding to an opportunity for filmmakers to get their work seen—and screened—hundreds of films were posted using the hashtags #mydancefilm. A few of the exceptional entries will screen at this event.

Meet the director of Woman with an Editing Bench, a biopic about Russian film editor Elizaveta Svilova, unsung creative collaborator on Dziga Vertov’s classic Man with a Movie Camera (1929).

High school students are invited by Dance Films Association to submit films between one and five minutes. Experience the top five juried films and a conversation with the students.

This informal roundtable discussion will focus on film production as practiced by a wide variety of perspectives across arts organizations, film festivals, and independent producers.

This exhibit functions as a fragmented timeline spanning 13 years of the photographer’s life as a dancer in the Paul Taylor Dance Company.