Noa is at the center of a love triangle in a story where emotions are expressed entirely through Latin dances.
Noa is a sweet and passionate woman, whose boyfriend Emery always mistreats her by flirting with other women, even in front of her. Everything explodes when he has a jealous attack when he sees her dance with a friend. Unable to face Emery, Noa flees aimlessly through the city streets until she arrives at Latif's bar, her good friend, who was always there for her. He comforts her and something warm arises between them. When Emery retaliates against Latif, Noa will be forced to step forward and get the respect she deserves.
I, Dance was born as a film experiment, based on the challenge of telling a story without dialogues. Or rather, where the dialogues are represented by the dance style used by the protagonists and the particular way in which they perform it. That is, the language of the characters is literally dance. The project arose spontaneously when my friend Jordan Olson, a Canadian resident in Wellington, New Zealand, invited me to a Latin dance session organized by the Go Bachata dance community. There I was impressed by the quality of the dancers. Later, Jordan introduced me to the Spaniard Luisa Cadle-Rivas, leader of the community and, immediately, we had a connection of interests. I told her that I always wanted to shoot something related to dance and how everything I had seen that night had inspired me. So much that an idea arose in my head: a story told with dance. Luisa loved the idea and offered the community resources, including the incredible Darío Puglisi and all the dancers.
All the dancers had a tough training program to prepare the choreographies. Here we have to highlight the great work of all the actors involved in the project, starting with the protagonists Luisa Rivas-Cadle, Darío Puglisi and Raúl Enrique, as well as the top supporting roles Elena Grant, Paul Conner, Grace Goris and Jordan Olson. And, of course, all the dancers who shone in front of the cameras.
Shooting lasted for eight days under strict planning, which included storyboards, camera plans and precise shooting plans . It was filmed in several locations across Wellington, both exterior (the alleyways of the city, Houghton Bay beach, the hills next to the airport and the tunnel that crosses it below) and interiors. Here we have to give special thanks to the people of Havana Bar, Bristol Hotel and the Victoria Recreation Center, for allowing us to shoot in their locations. We also recorded inside two houses thanks to the courtesy of two workmates and friends from Weta.
The team was small, basically Ed Davis at the controls of his camera (with whom I already worked on Mine), aided by Hernando Lattus, Aaron Askew controlling the sound, Nico Speziali and Corey Fuimaono's help for everything, and the incredible makeup of Sarshya Wilkinson, who also worked with us in Mine. Manasi Subramanian took over the Making Of photos. In the music and dance section, we have Juan Francisco Manzano Ramos's amazing piano, Alfred Mürrle's intimate guitar song and the invaluable help of two dance trainers: Mónica Gómez in tango and Barri in kizomba.