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To watch BAREworldwide: https://vamfilms.vhx.tv/products/bare To watch BARE in the US and North America: https://www.tlavideo.com/videos/2751594/bare https://www.amazon.com/dp/B094137CRK Our society is losing the space of freedom. The tendency in the world is right-wing, neo-liberal, and people are more controlled. We have less liberty even if we think we have more. The last territory where we can be ourselves and where we can have full freedom is our own body. "BARE" documentary focuses on male nudity in the modern dance. The story follows a well-known Belgian choreographer Thierry Smits through a process of building his new creation with a group of male dancers performing bare naked. More information: http://baremovie.com/ Facebook: https://www.facebook.com/baredocumentary/ Instagram: https://www.instagram.com/bare.film/ Or subscribe to the channel: https://www.youtube.com/c/VamFilms Directed by Aleksandr M. Vinogradov (VamFilms) Choreography by Thierry Smits (Cie & Studio Thor | Thierry Smits) Music by Aleksandr Vasilenko Sound mix / sound design by Freek Vrijhof Dancers : Valentin Braun / Germany Peter De Vuyst / Belgium Michał Adam Góral / Poland Jari Boldrini / Italy Gustavo Monteiro / Portugal Bruno Morais / Portugal Emeric Rabot / Belgium Nelson Reguera Perez / Cuba, France Theo Samsworth / UK Oliver Tida Tida / Congo, France VamFilms © 2020 BARE chronicles, chronologically, the creation of Belgian choreographer Thierry Smit's dance piece Anima Ardens, which translates as Burning Souls. While dance documentaries are inherently fascinating - all that sweat, drama and beautiful bodies - BARE has another angle: Anima Ardens is performed by 11 naked men. The filmmaker Aleksandr M Vinogradov is well aware that some audience members will be viewing his film for the nudity and he, like the dancers, never flinches from his artistic intentions for fear of indulging our prurience. But he also acknowledges it with scene breaking montages that are extreme close-ups of the dancers body parts in motion. The camera pans down a sweaty torso and the editor cuts just as we reach the pubic hair. If the story weren't compelling enough, this simple trick would keep an audience glued to the screen. The first penis, that is the first penis close-up (there is an abundance before that) doesn't arrive until almost two-thirds of the way through the film. If Vinogradov is exploring themes of artistic control, soul and body baring, and voyeurism, Smits has his own convoluted explanation of what Anima Ardens is trying to achieve. "Nudity is my choice," he says, "because in these days our body is the last territory of absolute freedom. And its still quite brave to put nudity on the stage." He also adds that "it's not only an erotic nudity, it's important to mention it, and it's not an obscene nudity, it's a nudity that is beautiful." And the men are beautiful. Beautiful in that celestial way that dancers, bodies honed by relentless physical exertion, usually are. They are individuals, initially differentiated by body hair patterns and tattoos, but slowly becoming personalities. The dancers are told up front that they will be nude and that the rehearsal process will be documented on film. Smits is obviously admired as only one dancer balks at the naked stipulation and the rest submit to a gruelling and heartbreaking audition process. It is like an extended cut of the opening of All That Jazz mashed with A Chorus Line without the musical numbers. Smits is alternately a father figure, a taskmaster and a sympathetic ear. It is hard to tell what he is looking for but he has a grand vision in mind and is searching for the dancers to bring it to life. There are tears as dancers are let go, both from them and from the audience. When it is time to get naked, the dancers further differentiate themselves. Some are brazen and strip down in an attempt an unselfconsciousness or bravado, some are reluctant and shy. But they begin to tease each other, waggling their dicks at each other, compensating for nervousness with hijinks. And then they work. Smits is in full taskmaster mode and the nudity becomes secondary to achieving perfection in movement. Smits shouts, "It has to be more energetic, you are males here." Their masculinity is on display but also subordinated to Smits and to the art. By the end of the film, in a lengthy single static camera angle in the dressing room, the dancers are inured to their nudity. They wander naked and unconcerned, until one spots the camera, and they begin to play to it. Instead of taunting each other for being nude, they gleefully tease the camera.

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