A lyrical work from deep within the tradition of American poetic cinema, Sharon Couzin’s Roseblood can only weakly be described as a ‘dance film’. While Carolyn Chave Kaplan’s body is often in motion, her gestures are fragmented and reassembled by the full resources of cinematic language: editing, freezing, superimposition, colour, and a musical collage including Stockhausen and Enesco. With allusions to Maya Deren, Couzin conjures a female figure asserting its presence within a vibrant world.