« Pole Dance is a discipline still unknown and with a sulphurous reputation. Yet, it is a rich and complex dance that drives us to rethink our relationship to the body and to the space. Because of its whirling nature, it is no longer possible to speak of “front”, “behind”, “right” or “left”. All the directions of space are confounded, and our usual benchmarks are no longer relevant. Only remains the body in its relationship to the pole.

Peculiar vertical line, bridge between the earth and the sky, the pole offers us to escape the gravity and projects us to an elsewhere. Vertiginous vector of movement, it propels us towards an almost infinite space around. Our gaze is thus invited to move around, to operate a revolution, literally (describe a circular movement) as figuratively (a change, a renewal).

How then to account for the mesmerizing wealth of this dance into a movie? How to give the spectator the chance to soar, and to see what the world looks like upside down? How, at the end of the day, manage to make a film of Pole Dancing rather than a film on Pole Dancing? For us, it was essential to think about dance and cinema together, to conceive choreographic writing and cinematographic writing in close correlation, to implement a fruitful back-and-forth between the cinema’s tools and the Pole Dancing’s possibilities. It is because of this particular collaboration that we like to talk about choréalisation. »