SSF @ Museum of Boulder: Festival Premiere 2026

As daylight falls, La Fée Électricité (The Goddess of Electricity) awakens beneath Paris, charged to bring light to the streets above. As she begins to move, she galvanises her power and emerges onto the streets of Paris, illuminating the city with electricity. By dawn, having danced all night her electric powers are overwhelmed by the daylight. By morning, her powers are extinguished. This is a short dance film filmed on location in Paris, featuring Royal Ballet soloist, Viola Pantuso. The story is built on the concept of “La Fée Électricité” – the personification of electricity in France in the late 1800s, as a woman, or fairy, who brought light and power to the people and streets.

Sheltering Gestures is a videodance that traces the ritual and spiritual movements revived by a group of young dancers who witnessed the gradual disappearance of the traditional Danza de las Tabliteras. Determined to bring it back to life, they learned its rhythms and choreography from the four remaining elders who still carried the dance in their bodies. Once again, these gestures echo the movements that decades ago filled the community of San Antonio, Bolívar, with pride, vitality, and collective spirit. AUDIENCE WARNING: This film references human slavery.

Martha Graham Company’s principal dancer Xin Ying embodies the spirit of the snake in a fluid metamorphosis. Drawing on themes of rebirth and reinvention, the dichotomy of repulsion and seduction, Ying’s dance improvisations evoke the Snake-woman motif in Chinese folklore and the Sorceress Medea in Graham’s “Cave of the Heart.”

An endless cycle. A dance of stagnation. A relationship’s rhythm, caught in a relentless tide, is about to break.

According to scientists, global warming may bring severe consequences to the future of humankind, and addressing this environmental crisis requires the collective effort of people across all nations. The digital ink–generated video art installation and dance performance Frost and Flame employs the textures of ink painting techniques and a visual language of geometric abstraction, combined with a color transition from cold to warm and a stylistic shift from structured geometry reminiscent of frozen ice to gestural abstraction evocative of water and fire. Together, these elements metaphorically portray the transformation of glacial ice as it melts — from frost to flame — issuing an urgent warning to humanity. In the final sequence, the re freezing of the text credit symbolizes the hope that, through unified human action, restoration remains possible. The integration of ink painting with environmental consciousness not only brings this classical art form into contemporary discourse on global ecological issues, but also allows Chinese cultural aesthetics to manifest renewed vitality in the digital era. Meanwhile, the immersive installation and dance performance reflect the profound wisdom embedded in classical Chinese culture and underscore the responsibility borne by humanity today.

Based on Wang Changling’s frontier poem “From the Army,” the film tells the story of war during the prosperous Tang Dynasty in China. Torches illuminate the depths of the cave, revealing ancient cave paintings that vividly depict the alternation of prosperity and war, recording the lives of early humans. When prosperity collides with war, countless small families are torn apart. At the end of the film, a white image symbolizes civilization, though it is cyclical, the club of life is reborn from destruction. So, what exactly has war brought to the world? It has prompted people to think.

Hammer is a 16mm music video at the crossroads of punk energy and contemporary dance. The camera turns away from the stage and dives into the pit, transforming a raw, chaotic pogo into a visceral and poetic choreographic experience. The film reclaims the mosh pit as a space of liberation, trance, and cinematic beauty. Dancers in the film include freelance artists, as well as dancers from Sharon Eyal Dance Company and the Paris Opera Ballet.

Snow in Autumn is a multisensory exhibition and choreographic work. It pays tribute to the cotton pickers of La Laguna, blending contemporary dance, visual arts, and technology.

A disillusioned man steps into an elevator, lost in life and ridden of any passion and purpose. As the elevator ascends, each floor becomes a metaphorical stage of risk and bravery. First subtle, but as he ascends to the higher floors, life becomes more thrilling and exciting and eventually even dangerous. With each stop, his appetite for this adventure grows, pushing him to abandon caution and embrace the unknown. But as he nears the top, a force intervenes, warning him of the cost of excess. Refusing to be held back, he breaks free and forces the ascent to the highest floor. Ascent is a short dance film that plays with the concept of high risk, high reward, live a safe and shallow life or live a risky and more exciting, but also more stressful life. Where is the line? AUDIENCE WARNING: This film uses a strobe effect.

Synopsis coming soon.

A joyfully subversive punk rock dance film poem about identity and connection (or lack thereof) set in troubled times, that loops endlessly. Madeline (I am Not) is an interpretation of the poem about a woman “Madeline” by Gherasim Luca, translated by Michael Tweed and is (or is not) also a portrait of the artist Allison Beda. A dancer who isn’t, a choreography that wasn’t, a document of a guerilla-stye spectacle which happened live, on the street, but which also didn’t. A poem about one woman, used as a self-portrait of another.

In a decaying grand estate, an imagined affair unfolds between two lovers bound by their own inescapable gravity, as unseen eyes search the house and begin to see them everywhere. AUDIENCE WARNING: This film features brief partial nudity.

The future is a fragile terrain, a delicate choreography of possibilities where every choice, every gesture, and every fleeting moment shapes the landscapes ahead. In this film, time is not only measured but felt – as a currency of life, as a weight we carry, and as a promise we hold. Through movement and image,The Joy and Sorrow of Time reflects on the duality of existence: the joy of what can be imagined and the sorrow of what inevitably slips away.

A visual meditation on resilience and transience, the film invites us to hold tomorrow with care, to nurture our dreams, and to trust in the endless potential hidden within the unknown.

Drenched is a dance film embodied exploration of what it means to be a fully feeling human in a deeply repressed society. May our collective un-numbing tear down the systems that keep us separate.