5 (five) (S)

The films aim is to accompany the creative process (its obstructions, inevitable difficulties, silences) as undertaken by five women-dancers-choreographers in their experience of collectively creating a dance-theater piece. It is a physical investigation into gender that discards the worn out idea of a single truth, and thinks rather in terms of “versions.” What happens in our bodies when we go through certain relationships with other people? Woman in her erotic, amorous and sexual relationship with the other. How do certain emotions settle and where do they stay? These relationships leave footprints in the skin, marks on the body, scars, consequences, memories. How can these things be brought into a language of movement? How do we explore another body? How do I relate to a body that is present, but distant, indifferent? What do I do so that another will caress me? Different ways of treating, touching, exploring another, both with and without love. Woman as lover, as object, as body. The film is not merely the documentary filming and recording of this journey of an artistic search by these five women, nor is it a piece with movements that are choreographed for (and by) the camera. It is a filmic piece whose texture is always escaping from both these things, putting in tension the limits between documentary and fiction. With an essayistic approach, an unfinished, self-reflexive exercise of language is constructed which understands the impossibility (its own impossibility) of telling a single, complete story, and of the need (also its own) for the story to be open ended. The enigma of the text, that which is removed from it, could be the dance itself, this image that escapes from the camera frame. But the silence at the end produces an emptiness with evocations that seem to go to the beyond.