Dog Cloud

When we run out of words, the body takes over. Dancers Berengrere Bodin, Samir M'Kirech and TK Russell agree thus far, when asked: why are we fighting? Based on their personal experiences, they search for the whys of the violence around them in the world, but also the violence within them. How do you deal with fear, frustration and disappointment in today's world, where you are not heard or understood? Is it even possible to act in a non-violent way? Or is that privilege reserved for those who create dance, music, art or words?

In Why We Fight? choreographer Alain Platel and director Mirjam Devriendt pay tribute to the arts and to humanity, which always seems to balance between creating something spectacularly beautiful and something horribly cruel. The film is inspired by a scene from the dance performance Nicht Schlafen that Alain Platel made in 2016 with the company les ballets C de la B, in a set by visual artist Berlinde De Bruyckere.

The film does not provide an unequivocal answer to the question of why we are fighting. It does show how a complex set of individual psychological, social, political and religious factors causes constant outbreaks of violence throughout human history.

Using various types of film and image material, as well as visual metaphors, the film analyzes social change, the lack of emotional processing and the strength of humanity. Various historians, philosophers, artists and writers, including Berlinde De Bruyckere, Tinneke Beeckman and Koert Debeuf, will have their say.

Despite the pessimistic signs we see on the world front today, the creators urge us never to lose hope! Or as writer and historian Phillip Blom puts it in the film: "We don't have the luxury of giving up!".

This short portrait takes an inside look at the artistic inspiration and motivations of Takano Yonen, a Japanese soloist member of the Hong Kong Ballet. As he dances through urban and natural surroundings, he meditates on the influence of his cultural background and his approach to the ritual and language of dance.

Around its own axis showcases the infinite, repetitive rhythm of the automated Dutch agricultural landscape. Machines perform a dance, while choreographer Pauline Roelants, in the language of her profession, guides the viewer through the scenes. Thus, the silences and tranquility of the landscapes, interacting with the impulsive actions and mistakes of the machine, become an integral part of the choreography.