Obsessed with Light is not a bio-pic of pioneer Loïe Fuller, but rather an insightful examination of the artistry and incredible impact her work still has on contemporary culture, including artists like Red Hot Chili Peppers, Taylor Swift and Shakira. The American creator of modern dance, Fuller (1862-1928), created a completely new kind of spectacle which combined dance, fabric and movement. She propelled herself into swirling abstractions which made audiences gasp and she immediately understood the importance of copyright and protecting the ownership of innovations. Creating a dialogue between the past and the present, artists such as Robert Wilson, Bill T. Jones, Iris van Herpen, William Kentridge, Trajal Harrell and Studio Drift speak about her influence in their own work. ​

To be able to live in Bogotá, you need a skin that can adapt, that can turn reptilian when it doesn't stop raining for weeks and that can go soft when the woman in the corner shop gives you a free morning coffee. Thick Skin is a dance film that takes the viewer through the Colombian capital, high above the Andes, with stylized movement that speaks of life in the bustling city.

Ngày Mới’ (A new day has come), is a poetic visual response to the new track “Ngày Mới” of Vietnam-based electronic band Tiny Giant. The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time. In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time. The moment of transit in the cave doubles as both childhood and adulthood come to the surface in sync, where we bend closer in proximity to the inner child, the taste of a spoonful of innocence lingering on the tongue. Deity-like characters also appear in the video. They are gods of the filmmaker’s own world turned into images, as any person can have their own interpretation of a god. In this film, God is understood as a provider of support and company, and trust is a form of custody. We trust in the things that can protect and guide us. The eyeless horses, then, appear as mascots and attachment figures that walk with the children towards the world.

Part of the choreography was initially inspired by the ‘Kitsune Wedding’ scene in ‘Dreams’ – a film by Akira Kurosawa, in combination with experimental hip hop moves and the krumping stomps, choreographed and performed by Saigon-based dancer Kim from La Différence Saigon and Hanoi-based dancer Quay Trần from Abnormal Conceptz.