A successful aging dancer takes a young female protegee.

Sean and Adrian, a Two-Spirit couple, are determined to rewrite the rules of Native American culture through their participation in the “Sweetheart Dance.” This celebratory contest is held at powwows across the country, primarily for heterosexual couples … until now.

Young Tony, unable to make a living in crowded and fast-paced London, goes to South America in search of his fortune. He soon becomes the owner of a saloon and dance hall. One of the dancers in his place, Maxine, falls in love with him, but Tony is still in love with his childhood sweetheart Una, although Una is now a "party girl" back in London and has forgotten about Tony. However, Tony comes into an unexpected inheritance, along with a title, and returns to London for Una. Although disappointed with Una's current lifestyle, he asks her to marry him despite her "indiscretions". However, the night before they are to be married Una confesses a deep, dark secret to Tony that could change their lives forever.

An exotic dancer performs community service by teaching a group of kids how to dance hip hop.

Japanese "kayo" film centered around the song "Tokyo baka odori" by Haruo Oka and Chiyoko Shimakura.

《重金属舞者》（HEAVY METAL DANCERS）是一部纪录片，讲述了舞者接纳自身不完美并在舞台上追求完美的故事。这些舞者来自芬兰，但其故事却具有普遍意义。他们对这项不同寻常的运动的热爱，让他们与自己的身体、生活以及有时艰难的过往达成和解。

Dtetective Albert Campion investigates threats against stage star Jimmy Sutane.

暂无剧情简介

Made 1965 / 1983 With Kenneth King and Phoebe Neville. "Kenneth King's CUP/SAUCER/TWO DANCERS/RADIO (1964) is an essay in Pop Art style, in which all the elements listed in the title have equal emphasis. Phoebe Neville, dressed in bra, girdle, curlers, and toe shoes, marches across the floor on pointe with a radio clasped to her ear. King, dressed in undershirt and shorts and a black tie, does calisthenics. Both spill colored solutions from the coffee cup all over themselves, embrace one another emotionlessly, and mechanically caress their own bodies, while rock and roll songs comment ironically on the action and a taped voice explains the dance's structure. Mekas, recording a 1965 performance of this key postmodern dance, has translated it into an extraordinary film ..." -- Sally Banes, Village Voice, Oct. 18, 1983.