Artivels Undescribable Perfection

Vashirdfel Simply A Masterpiece

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

john_meyer Great dancers deserve to be filmed by a competent director and crew. Unfortunately, this did not happen in "Ballet 422." I have had the good fortune to have seen hundreds of live performances; have watched hundreds more on TV, laserdiscs, and DVD; and have myself filmed over a hundred ballet performances. I therefore know a little about both the art of ballet, and the techniques for recording it.(P.S., I am also married to a ballet dancer.) What I have found over the past forty years is that there are no right ways to film a ballet, or a documentary about ballet, but there sure are a lot of wrong ways.This film seems to be an exercise in finding every possible wrong way to photograph dancers. Here are some examples: * The camera person seems to have an aversion to feet. Virtually every shot cuts off the dancers' feet and lower torsos, and by tilting the camera to far upwards, gives us vast, pointless shots of the ceiling.* I don't think I have ever seen an extended dancing scene in which the dancer is shown out of frame, with her arms occasionally appearing in the shot, only to disappear again. I am all for artistic shots, but if you're going to take a chance at doing something different, MAKE IT WORK!! This was just stupid and most definitely did not work.* Whoever edited this has no sense of continuity. They also don't understand when to begin and end a shot. This movie could be used in an editing class to show exactly what NOT to do when editing.* The lighting is awful. Yes, I know it is a documentary, and much of it is shot with available light. However, I also know that many of the shots required setup and WERE lit, or at least some attempt was made at lighting.* The ending shots, where the movies should come together is a completely pointless series of juxtapositions that make absolutely no sense.I don't think I have ever seen such an incompetent production, and this includes some high school films done by first-year students.The only reason I give it three stars instead of one is that the solo dancing is absolutely wonderful (although the group dancing is pretty sloppy and lacks coordination).So, if you do rent this, make sure you have a fast forward that works, and just watch the dancing and skip all the pointless and useless and incompetent footage that adds nothing but bloated, pointless time.Jody Lee Lipes (the director and main camera person) should not ever again be allowed anywhere near a camera, not even the one in his cellphone.

thespoonies As an ex - professional ballet dancer I found this an interesting piece to watch . I was excited to watch a "dance film" but found that It focuses greatly upon rehearsal and the choreographer yet sadly lacks any entertainment value. Dance, is about the artistic representation of life , love , passion, however this film has none. The part where the choreographer is asked to thank the orchestra is particularly cognisant of how narcissistic dancers can be . I would encourage young dancers to watch it to realise that this is again sadly actually what being a professional ballet dancer is all about. There are better things to do with your life .

Dunham16 Many successful Hollywood movies follow the storyline of how a new ballet is prepared. Most have subplots based on the motives and after hours experiences of ballet company members. This film brilliantly ignores the sub plots to focus on the internal workings of the much admired New York City ballet at Lincoln Center's David Koch theater. Every camera angle and every bit of dialogue is fascinating to balletomanes though may be an unfamiliar experience to those who perhaps don't care for the performing arts or aren't enthused about ballet. We get intimate looks at the creative process, the way the corps de ballet prepares new choreography and the inner workings of a major ballet company with 91 dancers. The revelation seems the way the dancers and the house staff seem to direct in committee consensus without line boss artistic management as is traditional in a ballet company once run with an iron hand by George Balanchine and then by Peter Martins.The surprise expose is company ballet performance tweaked by many hands working to guess performer plus house staff consensus at the heart of why some fans adore NYCB and why some fans avoid its surface sameness week after week and year after year.

Kay Pot From first rehearsal to world premiere, BALLET 422 takes us backstage at New York City Ballet as Justin Peck, a young up-and-coming choreographer, crafts a new work. BALLET 422 illuminates the process behind the creation of a single ballet within the ongoing cycle of work at one of the world's great ballet companies.New York City Ballet, under the artistic direction of Ballet Master in Chief Peter Martins, boasts a roster of more than 90 elite dancers and a repertory of works by many of the greatest choreographers in the history of the art form. When 25-year-old NYCB dancer Justin Peck begins to emerge as a promising young choreographer, he is commissioned to create a new ballet for the Company's 2013 Winter Season. With unprecedented access to an elite world, the film follows Peck as he collaborates with musicians, lighting designers, costume designers and his fellow dancers to create Paz de la Jolla, NYCB's 422nd new ballet. BALLET 422 is an unembellished vérité portrait of a process that has never before been documented at New York City Ballet in its entirety.