一名舞者决心要将传统的邦拉舞搬上世界舞台，并准备与另一名有着自己梦想的竞争对手进行一场国际比赛。

一名舞者决心要将传统的邦拉舞搬上世界舞台，并准备与另一名有着自己梦想的竞争对手进行一场国际比赛。

Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths. 　　The narrative is built upon Modernist lines, disregarding the traditional, novelistic storytelling techniques and instead using abrupt shifts in time and using the constructive devices of avant-garde poets such as Blok, Bely and Mayakovsky to create a picture of modern Ukraine that pushes in several directions at once. 　　There are some incredibly striking tableaux that require the viewers to create a structure for themselves (such as the Bolshevik soldier directing his own execution) although the climax does draw the preceding events together, combining the dialectical threads of modern industry and the old man's myth together in two exhilarating scenes. 　　The cinematography is fascinating - elements of the style of Eisenstein, Pudovkin, Protazanov and Kuleshov are recognisable, yet Zvenigora seems completely different to any of them. The juxtaposition of rapid montages, swift city tours and slow, poetic journeys around the countryside is powerful, and the mythical scenes, although winding, are beautifully realised with a dreamlike quality to them. 　　Zvenigora is not Dovzhenko's masterpiece, if only because his Earth (1930) is one of the greatest Russian films ever made. However, it is highly recommended, although if you are new to Russian film of the period it is probably not the best place to start.

Zvenigora is, in terms of narrative and content, one of the most remarkable avant-garde films of an exuberantly experimental period. The film uses the central construct of a legend regarding treasure buried in Mount Zvenigora to build a montage of scenes praising Ukrainian industrialisation, attacking the European bourgeoisie, celebrating the beauty of the Ukrainian steppe and re-telling ancient myths. 　　The narrative is built upon Modernist lines, disregarding the traditional, novelistic storytelling techniques and instead using abrupt shifts in time and using the constructive devices of avant-garde poets such as Blok, Bely and Mayakovsky to create a picture of modern Ukraine that pushes in several directions at once. 　　There are some incredibly striking tableaux that require the viewers to create a structure for themselves (such as the Bolshevik soldier directing his own execution) although the climax does draw the preceding events together, combining the dialectical threads of modern industry and the old man's myth together in two exhilarating scenes. 　　The cinematography is fascinating - elements of the style of Eisenstein, Pudovkin, Protazanov and Kuleshov are recognisable, yet Zvenigora seems completely different to any of them. The juxtaposition of rapid montages, swift city tours and slow, poetic journeys around the countryside is powerful, and the mythical scenes, although winding, are beautifully realised with a dreamlike quality to them. 　　Zvenigora is not Dovzhenko's masterpiece, if only because his Earth (1930) is one of the greatest Russian films ever made. However, it is highly recommended, although if you are new to Russian film of the period it is probably not the best place to start.

Feet of Song explores the African rhythms of the talking drum and the guitar. The animated stylised figures move beautifully in time with the music, leaping and stamping to the musical score. The bursts of abstraction within the film are often just a few gliding brush strokes cleverly depicting the human form in movement. With the use of airbrush and watercolour, one can see black shapes move against the orange, ochre and stripes of primary colour and a host of multiplying dance forms. 　　Erica Russell researched extensively for her film in dance, music, African masks, sculpture and body painting.

Feet of Song explores the African rhythms of the talking drum and the guitar. The animated stylised figures move beautifully in time with the music, leaping and stamping to the musical score. The bursts of abstraction within the film are often just a few gliding brush strokes cleverly depicting the human form in movement. With the use of airbrush and watercolour, one can see black shapes move against the orange, ochre and stripes of primary colour and a host of multiplying dance forms. 　　Erica Russell researched extensively for her film in dance, music, African masks, sculpture and body painting.

滑雪圣地，阿斯彭，科罗拉多。 　　ASPEN is a film about a town famous in the 19th century for silver mining and now for its scenic splendor, 　　mountains, skiing, hiking, music, intellectual activity and fashionable people. The film documents the daily 　　life and activities of the people who live, work, visit and play in Aspen in the winter.

滑雪圣地，阿斯彭，科罗拉多。 　　ASPEN is a film about a town famous in the 19th century for silver mining and now for its scenic splendor, 　　mountains, skiing, hiking, music, intellectual activity and fashionable people. The film documents the daily 　　life and activities of the people who live, work, visit and play in Aspen in the winter.

主人公村尾润平是初中二年级学生。 尽管幼小时被芭蕾所吸引，但是因为父亲的去世而决定“要活得像个男子汉”，所以放弃了芭蕾的道路。 他隐瞒了对芭蕾的迷恋，学习了截拳道并成为了班上的万人迷。但是某一天，美少女转学生·五代都出现在他的面前。 母亲在经营芭蕾舞蹈教室的都一眼就看穿了润平对芭蕾的兴趣，并要求他一起跳芭蕾——?! 只有牺牲了一切的人才被允许立足的世界。违抗重力，美丽地高高跃起的人们啊，为这股冲动献上自己吧。by：jijikb.com

首席男舞者——有资格饰演王子的芭蕾舞者。 村尾润平是一名初二学生，他幼时被芭蕾舞的魅力吸引，但父亲的去世，让他决心“成为男子汉”，放弃了学习芭蕾舞。但有一天，美女转学生——五代都出现在了他面前。 都发现润平喜爱芭蕾舞，并邀请他学舞。于是，润平和都的发小——森流莺一同，正式走上了成为芭蕾舞者的道路。 “我要成为第一个日本籍首席男舞者” 只有为芭蕾舞牺牲一切的人，才能在古典芭蕾舞界拥有一席之地。而润平这个彻头彻尾的初学者，又将面临怎样的命运？ 著名漫画家——GEORGE朝仓，其作品首次动画化！MAPPA（制作）×境宗久（导演）挑战芭蕾舞者们的热血青春芭蕾舞故事！！