Elena
Exploring Urban Rhythms: A Meditative Dance Film in the Heart of Berlin
Directed by Vladislaw Sinchuk
Interview by Tatev Avetisyan
Amidst the vibrant streets of Berlin, a city known for its creative and underground spirit, Elena emerges as a force, weaving the language of contemporary dance and the melodies of classical music. Guided by Berlin-based director Vladislaw Sinchuk, the film introduces a meditative journey through Elena's fluid dance moves, where her individuality merges seamlessly with the pulsating energy of the metropolis.
In conversation with Sinchuk, we meet the team behind this production, witness their choreography supervision, and learn more about the collaboration between the director and Elena.
Why did you decide to pick up a camera? Was it photography or directing that you first experimented with?
I initially started off as a dancer, but filmmaking was always on my mind. I carried these loose ideas for a film in my head for years. When I met Antoine in a bar, the guy who ended up playing the main character of my first short film Sofie, I instantly saw that he was a perfect fit and took it as a sign from the universe to stop f*cking around and just make a movie. I shot Sofie on an iPhone with anamorphic lens which was inspired by Tangerine by Sean Baker and some late work of Steven Soderbergh. Directing definitely came first. Film, just like dance, is a time-based art, so it was a natural form to try.
Tell us about the inspiration behind Elena. How did you meet Elena Francalanci, and what motivated you to create this piece?
I met Elena five years ago in a morning ballet class when we first came to Berlin. She had great technique, coming from a classical school in Florence. Throughout the years, I followed her gradually, moving through dancing contemporary material to performance art which I found interesting. I really liked her versatility and personal style, so when I had an idea to shoot a dance film, she was the first to come to mind.
What was the creative process behind putting together the dance sequences for the film? How was it working with Maxim Westermann?
All the dance sequences are completely improvised, so our job with Maxim was to find the right setting for Elena’s performance. Maxim and I did a short location scouting in advance. The shooting process was extremely natural. We were just three people and a camera with a tripod. The camera work is very simple, not showy, and documentary-like so the most important thing was to build each shot harmoniously. Maxim is a great collaborator, as he both offers his own perspective and is ready to work in a certain chosen aesthetics.
“In contemporary dance, improvisation is just another way to build the material. It is liberating to understand that you cannot control everything, and sometimes you need to tune in.”
Did you work closely with Elena Francalanci in developing her character and movements for the film? If so, how did the collaboration go?
As the video is practically a dance performance scattered around different places, there was no character development. It is just Elena dancing to her own groove, we did not even use music. She did not hear the music I ended up using for a video. I just gave her vague ideas, which she picked up intuitively to tune in to the energy I am looking for. I would also ask her to repeat some movements, so we had room for experimentation in the editing process by connecting various scenes and changing tempo or energy a little. But in general, my involvement was minimal. My part as a “choreographer” started in the editing process, where I had endless opportunities to connect movement across several locations and to match dance sequences accurately to the music. It was like an elaborate and dainty puzzle to solve. And it took me around a month of work.
Contemporary dance under classical music in the central neighbourhood of Berlin; what message or emotion were you aiming to convey through your film?
Berlin is a city of harsh contrasts: It still has some of the best parties in the world, and techno music is a huge influence on the city. At the same time, it is historically one of the centres of European classical music, with great orchestras and concert halls. Jerzy Chwastyk, an amazing guitar virtuoso who arranged and performed Bach’s music for the video and Elena are from completely different artistic circles. My idea was to showcase their dialogue but not in a forced way, to create a meditative journey through a city which many associate with a more upbeat energy. To make it a little melancholic, thus highlighting a different Berlin, because, to me, Berlin is a city of lonely people. There is always so much going on, but, at the same time, the sense of alienation lingers around.
What are the struggles of working with improvisation? Was there a clear mood board before the shootings, or the location choices and Elena's wardrobe were improvised, as well?
In contemporary dance, improvisation is just another way to build the material. The experience of being okay to just come to the studio without a certain plan and create something and seeing big choreographers following their intuition really helped me in my film projects. It is liberating to understand that you cannot control everything, and sometimes you need to tune in. Locations and Elena´s wardrobe were chosen in advance, though. As they say, you have to be prepared to be able to improvise.
The shooting process lasted a day, with 10 minutes in each location; what were the challenges during the production process? How hard was it to shoot in public places?
We started shooting at 04.30 in the morning, so the city was practically dead, not a single trouble with production. Also, Berlin has seen it all, so I doubt anyone even noticed us. Many of the locations we used are a little hidden as well, so we almost never had people around.
Were there any particular directors or films that inspired your approach to directing a dance film?
Perhaps, the most direct inspiration would be Aria with Lil Buck by Benjamin Millepied, which premiered on Nowness 10 years ago. When I first saw it, I was completely mesmerised. However, with this project, I was more inspired by my collaborators: Elena and Jerzy, so the tone of the project gradually evolved from their work.
What are you working on next? Do you have any plans to continue with the dance format?
I have a fashion series shot in Georgia premiering very soon, it features short, seemingly unconnected stories, creating a sort of ensemble together. At the same time, I am developing two fashion films, one set in the tango scene and another being a sort of European fantasy thriller of the 1960s set in Italy.
Director/Editor: Vladislaw Sinchuk
DOP: Maxim Westermann
Dancer: Elena Francalanci
Music: J.S. Bach: Suite No. 5 in C minor, BWV 1011: IV Sarabande. Arranged and performed by Jerzy Chwastyk
Sound Design: Karina Kazaryan
Color Grading: Boris Ulitovsky