

TRAILER


SYNOPSIS
A boy and a girl: cocky, cool, and uncompromising, engage in a seductive game of emotional warfare to fulfill their insatiable desire for power and control. In a manic display of vanity, self-indulgence, and obliviousness, they dance, showcasing how powerful, cunning, and capable they are: that they are the one on top. Their climactic burst of narcissistic rage throws them into each other’s arms, forcing them to realize that indeed, they do need each other–that ceasing the perpetual fight gives them a chance at happiness and to discover who they truly are.
FAQs
Answered by Director and Choreographer Caroline Liviakis

Where did you get the idea for the piece?
What were the aesthetic influences for the film?
Were there any funny moments from set?
What was the inspiration behind the lighting design?

I wanted to create a hallway of light that the dancers would primarily battle within. The hallway isolates them and gives a clear sense of direction. There would also be a second hallway that intersects. One pathway represents the boy and the one the girl. Just like the characters they represent, the pathways intersect, crossing into battle, yet simultaneously meet in the middle, uniting.
These hallways would be lit by 60, blue LED tubes. We added four Sharpies with stark white light on the diagonals, shining a spot in the central meeting place. With this we have a super modern, mysterious, cool-toned look. I however thought we weren’t done there, that some warm tones were needed to fully capture the emotional underbelly of this piece. I also loved the idea of visible light sources, particularly ones that would bring the vintage elements to the lighting that we see elsewhere in the film. Thus, we added eight Par Cans on the floor, surrounding the dancers like a fighting ring.
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What do you want people to get out of this film?

I want people to see the incredible potential that dance holds for film. That dance, in and of itself, can effectively and brilliantly tell a story that audiences, regardless of dance knowledge, can understand, enjoy and relate to.
I see great potential for the growth of dance in film; I hope this film ignites that same sentiment in audiences.
I believe that dancers do not merely belong in the background, that dance is more than just a fun interlude between the ‘real’ acting or the ‘real’ story, that the choreography is the script.
I think this is all possible not only in a short film, but in a feature film form as well. This is something I am eagerly working towards.

Biographies
Caroline Liviakis
Director & Choreographer
Paul Barris
Dancer
Aakash Raj
Director of Photography
Henry Reed
Producer
