In the supporting programme, we will be showing two gems of early experimental film that take dance as their point of reference, an art form radically different from literature and theatre. In Germaine Dulac's work, lines, surfaces and volumes develop directly, without artificial allusions, in the logic of their forms, freed from any overly human meaning in order to better rise to abstraction and give more space to sensations and dreams. Miklós Bándy and Stella Simons' abstract short film, created in the Berlin avant-garde milieu, is also inspired by dance and shows hands embodying different characters connected by a love story.

When Das Blumenwunder (The Flower Miracle) was released in cinemas in 1926 after several years of filming, the film thrilled audiences by using time-lapse photography to vividly depict natural processes. The plants began to move monumentally before our eyes, dancing to the rhythm of day and night. We see the plants breathe, grow and die. The natural impression that plants are inanimate disappears completely. This natural choreography is complemented by scenes in which dancers artistically recreate the growth of the plants. Or, in the words of art theorist Rudolf Arnheim: ‘The most exciting, fantastic and beautiful film ever made.’