Una chica de pueblo que se traslada a la gran ciudad y entra a trabajar como camarera en un club de variedades. Muy pronto, su objetivo será demostrarle a la encargada del local que ella tiene talento para ser una de las chicas del espectáculo.
Evans Evans, es director de danza, con su grupo de bailarinas es muy estricto en cuanto al nivel profesional o a su peso, pero sobre todo respecto a los hombres, no los permite cerca ni que ninguna tenga relaciones sentimentales. Cuando una decide casarse, la despide. Y no dudará en utilizar todas sus artimañas cuando otra planea casarse.. Pero el gran problema llegará cuando la gira llegue a Roma, donde una de las chicas tuvo un bebé, al que dejó al cuidado de un ama, pero ésta se tiene que ir y la chica ha de buscarle una nueva.
Roma, 1943. Mimmo Adami, un cómico de variedades, y Dea Dani, una corista, son un matrimonio que dirige una compañía teatral. A pesar del peligro que supone la guerra, aceptan hacer una gira por el Abruzzo. Desgraciadamente, durante el viaje se ven envueltos en aventuras de lo más rocambolesco. (FILMAFFINITY)
La bailarina de salón Rosie Velez (Divine), recibe la ayuda del pistolero Abel Wood (Tab Hunter). En la ciudad de Chili Verde, en el salón de Marguerita Ventura (Lainie Kazan), Abel se enfrentará con el fuera de la ley Williams (Geoffrey Lewis) y su pandilla.
In this Pete Smith Specialties short, two professional dancers beautifully demonstrate the rumba and conga while actors humorously display some incorrect techniques for those dances.
Two young strangers meet in Naples and begin to flirt and dance in the street.
This ultra-kitsch documentary goes behind the scenes at Murray's Cabaret Club, where Christine Keeler was later a showgirl.
A humble Romanian actor in his 40's, hardly surviving between a complicated part in a musical, a depressed wife, and the obsession of an imminent, devastating earthquake, becomes the victim of his manipulative father.
Chicago After Midnight (1928)
A synthesis of sound and movement; colourful characters dance and move in repetitive patterns to percussive and melodic elements. A combination of motion and music that is hypnotic and beautiful. At first it feels structured and orderly but as more elements are added becomes quixotically expressive.
Two lazy friends (Mimis Fotopoulos and Ntinos Iliopoulos) find a job as ice-cream vendors to pay their back rent. When they start giving ice-cream to poor children for free, their boss, incensed, chases them off, and they take refuge in a nightclub, where they disguise themselves as female dancers. One misunderstanding follows another, until the impresario seeks them out, offering them a job as a comedy routine.
Bill Moyers and filmmaker David Grubin give viewers a rare glimpse into dancer/choreographer Bill T. Jones’s highly acclaimed dance Still/Here. At workshops around the country, people facing life-threatening illnesses are asked to remember the highs and lows of their lives, and even imagine their own deaths. They then transform their feelings into expressive movement, which Jones incorporates into the dance performed later in the program. For this documentary, Jones demonstrates the movements of his own life story: his first encounter with white people, confusion over his sexuality, his partner Arnie Zane’s untimely death from AIDS, and Jones’s own HIV-positive status.
Stories about young Ukrainian dancers and their hasty flight to the Netherlands. You see their new life as refugees. The former conservatory in The Hague is a shelter for them where they collect their lives and find refuge in their profession: dance. The formation of a new ballet company, The United Ukrainian Ballet, is an important foothold in winning back their lives. They find comfort in each other and close friendships develop. In addition, there is the great love for ballet, for the dancers the best way to express themselves.
Soon after the VE Day celebrations, there is a second chance to let the hair down, and these dancers make the most of it with much humour.
The story unfolds in an alternate reality. Chee-Ke works for the "dance police". By the will of fate, he has to quit. For three years there is no news about the hero. But suddenly the singer Kunnei is kidnapped by the villain Bachata, and Chee-Ke is forced to go on the warpath. The policeman and his assistant must defeat the kidnappers in dance battles.
Hear the Lama band, see the sacred dances: welcome to Sikkim, in the shadow of the Himalayas.
The motions and gestures of military riot police, slowed down while performed by dancers, are surprisingly beautiful. Menace and violence estranged from context and time looks eerily strange, and all too familiar. In this gallery piece, Isaac Chong Wai somehow anticipates, a year early, key images of the Hong Kong protests.