Rijndri Load of rubbish!!

Micransix Crappy film

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

istara The Good: the wonderful costumes, the stunning dance routines, and the performance of Soki in the lead role. Purely as a spectacle, there's plenty to enjoy.The Bad: the storyline was completely disjointed. Certain scenes and interactions made no sense, suddenly following on from one another in a jarring way. There seemed to be gaps (scenes edited out for length?). It was hard to tell how much time was supposed to have elapsed. The way Soki meets Gabrielle in a car park, and then next scene she's suddenly got some huge show happening: it was bewildering. Let's not even get started on the confusing relationships. I'm not sure what I was supposed to be watching there, or who was already supposed to have slept with whom.Ultimately this would have been a better film if they had cut down on the endless scenes of Soki's pain and exercise and bleeding eyes and ice baths, and added a bit more storytelling. Much of the US/ New York stuff could have been cut/tightened (particularly since it wasn't biographically accurate, and served minimal apparent purpose. Save for Ulliel, the NY cast didn't reappear once we moved to Paris).

CineMuseFilms Historians have a way of sterilising cinema. So many words are wasted on whether a film is accurate instead of understanding and enjoying film as an artform. The Dancer (2016) is a bio-pic based on the life of Loíe Fuller who pioneered a hybrid dance performance that integrated visual spectacle and physical movement. Historians can fuss over facts, but others will enjoy what is an aesthetically intense story of creative innovation in late 19th Century Paris.The story opens with Loíe (Soko) raised by her drunken father on a farm in America. A keen reader with a vivid imagination, she dreams of a career as an actress. After her father dies, she uses money stolen from a would-be seducer to cross the Atlantic in search of fame. She stumbles upon a Parisian theatre looking for a performer to fill the stage during interval. As a talented artist with an eye for design, she conceives of a dance act that disguises her modest dancing talent and creates a dramatic serpentine performance using a costume of batons and swirling bedsheets. Her act is immediately popular. Although physically arduous, the performance evolves to using silk, coloured lights, and dramatic music, and suddenly Loíe is the toast of Paris. When the talented teenage dancer Isadora Duncan (Lilly_Rose Depp) joins the troupe, the stress of dancing on Loíe's body, her penchant to overspend, and her emerging sexual ambivalence, all begin to take their toll.This is a luscious film to watch. Its rich colour palette, top-shelf production values and unconventional characterisations create the dramatic energy which drives the narrative. Undoubtedly, it is Soko's physicality and her acting style that makes this film work. She has an almost androgynous beauty that the camera exploits; in some scenes she appears dashingly handsome, in others, sublimely feminine. With an emotive range that switches effortlessly from ingénue to sophisticate, she transfixes with her gender-free expressiveness, even under the on- screen competitive pressure of the beautiful young Isadora. The serpentine dance performances are mesmerising. They hang in a space somewhere between classical ballet, modern jazz, and a gyrating living sculpture draped in wings of silk accompanied by Vivaldi under spotlights. It's easy to understand their immense popularity as a dramatic innovation in stage performance. Above all else, The Dancer captures this spirit of excitement.Reading this film as history gets in the way of enjoying it as visual spectacle and engaging narrative. Loíe Fuller was praised by luminaries of her time, such as Yeats, Toulouse-Lautrec, and Rodin, but largely forgotten in her native country. The Dancer is a tribute to an avant-garde artiste whose legacy lives on in theatrical dance effects that have become an artform in their own right.

BebeJumeau The dance sequences were wonderful - all credit to Soko who did her own dancing, Fanny Sage who was body double to the delightful Lily Depp, and dance adviser US artist Jody Sperling a major dancer and innovative performer in her own right, whose work is excellently showcased here. I loved the intelligent and exciting re-staging of Fuller's dances and the more conceptual scene of Duncan's overtly erotic lap dance rapidly clearing multiple rooms of elderly fearful conservative white males - Kristeva meets Busby Berkley. Go to see the film for these breathtaking sequences alone It was good to see a female director tackling a female subject However the plot was inaccurate and ridiculous and clichéd in a manner that would be expected of Hollywood say in the 1950s. about 95% of the story apart from the dancing was made up. The decadent male junkie significant other and sponsor/art fund-er was an invention, the Montana/Wyoming childhood - possibly filmed in the Czech Republic was totally made up - although its nods in styling and lighting to those Europhile fantasies of the wild west - Heaven's Gate and the Hateful Eight were nice Easter eggs, the weird puritan temperance colony in New York where Fuller's on screen mother lived - adorned with a surprising amount of Catholic kitsch for a fundamentalist protestant cult - totally invented, the ignoring of Fuller's primary same-same lifestyle and the casting of Isadora Duncan as a duplicitous ambitious lesbian - All About Eve rang they wanted their plot line - makes the film down right homophobic And let's not mention the modernist myth of the outsider misunderstood genius battling through with courage and persistence ... yawn yawn yawn

mardou sarant A very beautiful film directed with vigor and taste. To classify this film as biopic does not do justice to it and it is even misleading. I read so many ill directed criticism on what is and what is not historically accurate in the movie. Who cares? Who would criticize the Greek poet Kavafy for misrepresenting historical figures in his poems? For me 'The Dancer' is a poetic film on beauty and the passion for creativity and it was a pleasure to watch. For two hours I was immersed in the film's world, relishing every bit of it; the elliptical decor, the unreal almost lighting, the spectacular dance, the energy. Indeed what I liked most was the fact that the film did not make an effort to faithfully reconstruct an era, but rather create its own unique universe combining various elements in a coherent whole. Let alone the amazing amount of work that went into it, the production design, the choreography, the music. The audacious directorial approach is justified by the result. Soko's choice to play Loie Fuller was excellent as she brought into the part her own fierce determination to develop in the show and music business matched with confident and truthful acting. The film is an amazing feat anyway, but even more so as a debut feature.