Film News
Film News
Beauty Arena - Artificial Beauty
Beauty Arena - Artificial Beauty
BEAUTY ARENA
*with Lysa Thieffry
Beauty Arena stages a pageant where trophies, sequined lips, neon lashes and pixel-heavy faces occupy the same floor as a Louis Vuitton bag overloaded with charms, mascots, plastic trinkets and memories that cling to its handles as if they had been waiting for this arena to exist. Figures arrive dressed in jerseys, latex stockings, leather belts, ribbons, wigs and butterfly tattoos that glitter under studio light, a cast that parades and multiplies while the camera drifts across them without pause. Poses stretch into new poses, every gesture exaggerated until it spills over, every costume layered until it swallows the screen, a sequence that keeps producing its own energy. Artificial intelligence feeds this spectacle with an endless appetite, stitching fragments into new surfaces, melting shadows, saturating colors, pushing portraits beyond recognition and yet insisting on display. The figures remain inside this current, performing, collapsing, reforming, always illuminated, always held in the rhythm of a stage that refuses to slow down.
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Scenes pile up: nails extended into sculptures of plastic and resin, eyelashes that beat louder than the soundtrack, a teddy bear recycled as prop, pillow, fetish, guardian, a body stretched across the floor wrapped in metallic strings, lips painted into shining ornaments. Beauty here turns restless, spilling into code, fabric, gloss and skin, a generator of endless decoration. Beauty Arena moves forward without conclusion, its choreography looping through exaggeration and repetition, its voices circling inside a synthetic echo, its images flashing until the eyes surrender. The film unfolds as parade and archive, arena and spectacle, a flow of beauty without exit, a flood of glittering surfaces that refuses to fade.
TV General
TV General
LE MILE Introduces TV
LE MILE Introduces TV
*BLANK
by Luis Reidl
They remember a slower rhythm — when news arrived on paper, voices came through wires, and the hum of a single television filled the room like an event. Now, signals crowd the air, screens pulse too fast, too bright, too many. Their hands still recall the weight of letters, the texture of worn coins. Amid this restless, digital hum, they stand like visitors in a place whose language has changed — searching for belonging in a world that no longer mirrors the one mapped in their minds.
LE MILE Introduces TV
LE MILE Introduces TV
*Step Into The Light
by Andrew Winghart
Director Andrew Winghart offers a profound exploration of resilience and rebirth in his latest dance film, "Step Into The Light." Produced in collaboration with Columbia Performing Arts Center, the film chronicles the journey of young dancers emerging from the shadows of pandemic-induced isolation into a world radiant with newfound hope and beauty.
Originally staged as a live performance, "Step Into The Light" seamlessly transitions to the silver screen, merging haunting vocals with evocative choreography. Shot in mesmerizing 35mm, every detail, from the vulnerability in dancer Brianna Keingatti's eyes to the gentle sway of fabric, is captured with pristine clarity. Winghart's film is a testament to the human spirit's ability to find light in the darkest times. Experience yourself and find your own connection to hope.
Immersive Performance Reimagines How Fashion Is Presented
Immersive Performance Reimagines How Fashion Is Presented
Performance Of Postures
*Changing How Fashion Is Presented
A performance that places the audience in the middle of the action allows fashion to be seen in a new light. Laura Banfield and Claire Myers, based in Melbourne, use a technique that suspends the models in the air to create a performance that lasts over time. The latest collaborative project by Laura Banfield and fashion designer Claire Myers is called Performance of Postures. Laura's practice, which is interdisciplinary, examines bodies, materials, and fashion through performance, installations, wearable art objects, and image creation. Claire previously worked for Molly Goddard and then went on to start Lambert, a womenswear label that uses upcycled post-consumer textiles and digital prototyping.
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Performance of Postures
Performance directed and produced by Laura Banfield and Claire Myers
Performance of Postures, which was presented at Melbourne Design Week 2022, featured a number of local experimental fashion designers. The event, which took place at the Australian Native Garden, consisted of models assuming ethereal still-life poses with the assistance of a body-suspending installation. The performance was designed to challenge conventional ways of presenting fashion, such as on a runway or in an exhibition. As the models held their elevated poses, viewers were invited to interact with the performance. Instead of staying in one place, audience members gradually moved around, looking at the work from different angles. The audience’s exploration of the levitating models and their clothes, enhanced by different viewing angles and distances, allowed for new perspectives of bodies, performance and fashion. Among the designers whose looks were revealed during the performance were Lucinda Babi, Phoebe Pendergast, Love Manifesto, Emily Watson, Veils of Cirrus, Laura Galati, Lambert, Be Right Back, and Wackie Ju.
photographer Kaede James-Takamoto
featured designers Lucinda Babi, Phoebe Pendergast, Love Manifesto, Emily Watson, Veils of Cirrus, Laura Galati, Lambert, Be Right Back, Wackie Ju
talent Xandria Fe Vejano, Laura Banfield, Siobhan McKenna
installation Laura Banfield
crew Laura Galati, James Fletcher, Patrick Anderson, Alice Ramsden, Kim Thompson, Gus Berenyi, Dion Tartaglione, Sian Parany, Betty Liu, Anna Petry, Bridget Petry
LE MILE Art & Fashion Films
LE MILE Art & Fashion Films
.LE MILE ART
Stijn Koks
*on Fashion, Process, and the Power of Objects
The Grotesque
*directed by Alex Zapata
