--- product_id: 5621884 title: "Five Dances" price: "35545₫" currency: VND in_stock: false reviews_count: 9 url: https://www.desertcart.vn/products/5621884-five-dances store_origin: VN region: Vietnam --- # Five Dances **Price:** 35545₫ **Availability:** ❌ Out of Stock ## Quick Answers - **What is this?** Five Dances - **How much does it cost?** 35545₫ with free shipping - **Is it available?** Currently out of stock - **Where can I buy it?** [www.desertcart.vn](https://www.desertcart.vn/products/5621884-five-dances) ## Best For - Customers looking for quality international products ## Why This Product - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description Product Description Broadway star Ryan Steele (Newsies, Matilda) makes his big screen debut as a young gay dancer in New York City in Alan Brown's sensitive drama Five Dances. Collaborating with internationally renowned choreographer Jonah Bokaer, writer-director Brown has taken five gifted New York dancers, and fashioned a story about Chip (the wonderfully handsome Ryan Steele in his first film role), an extraordinarily talented 18 year-old recently arrived from Kansas who joins a small downtown modern dance company. In his first weeks of rehearsal, Chip is initiated into the rites of passage of a New York dancer's life, where discipline and endless hard work, camaraderie and competitiveness, the fear of not being good enough, and the joy of getting it just right, inform every minute of every day. Shooting in and around a Soho dance studio, Brown and his longtime cinematographer Derek McKane capture the exhilaration and emotional turmoil of a small dance company, and all of Chip's poignant firsts-the forging of friendships, being chosen for the important solo, his first ever love affair-with the intimacy and immediacy of a documentary. The result, Five Dances, is Brown's most dynamic film. Review The sensual movement of bodies through space creates a visual language whose infinite variations seduce and fascinate. --VarietyFilmed with rare sensuality. A beautiful voyage! --Premiere Review: A Lyric Invocation to Love through Dance - All dance pays homage to Eros. There are other gods it may invoke. But no art is as carnal as dance. Its meanings, no matter how abstract, must be incarnate. And they must be musical,at the very least rhythmic, responsive to the human pulse, just as the measures of poetry are. Five Dances is an original, innovative, beautiful, and above all lyric film. At its heart is its invocation to love through the body's movement, if by 'love' is meant many things in addition to the sexual: for example, the carefulness of touch, the suggestions of glance, the movements of arms and legs, and so on, in response to others' movements and touches and looks. It is lyric because as much of the story is told through those movements, through dance, as by words. In fact, the fundamental narrative of the film is in its choreography. I don't mean just the five dances isolated by the number titles, but throughout the movie as the choreography is tested, rehearsed, changed, prepared for performance. It is therefore a mistake to separate the "plot" of the film from the dance. Rather, they weave in and out of one another, as the dancers do so often in their dancing. How the dancers dance is affected by what has just happened or is about to happen in their lives. Their lives are part of the continuity of the dance. In the dance numbered three, for example, Chip is most isolated; he dances his solo. In the one numbered five, Chip and Theo dance together and how they dance is now transformed by their having been together in other ways shortly before. This way of living in and through dance is true for all four dancers, five if one counts the choreographer Anthony who is also part of his piece. The movie shows not only the dances, of course, but all the other dancers watching one another. The mirrors found in any dance studio play an obviously important part in this seeing. The dancers see each other but also themselves. This is perhaps most poignantly visualized at the movie's end when Chip and Theo happily, almost giddily dance for each other and for the mirror, seeing each other and being seen in a sense as the other sees him. At this moment, they are dancing freely, with no choreography, yet the fullest expression of their new love for one another might be found in this rhapsodic bodily freedom. The glimpses one sees in the movie of its dancers' lives are what their dancing expresses in other ways. Look, for instance, how Theo and Chip lean back to back, as they have done several times previously, at the last realization of this passage in the piece. But now the stance, the pressure, differ. It is expressive in a new way. Or note, earlier, after Cynthia and Anthony have had sex the previous night, how their bodies change. It is not just her little mistake. It is as much a matter of posture, of how the body is carried. It is full of erotic expression, even in its failures, its errors, its disappointments. Chip has a funny voice, a little man who talks when his mouth is closed. At one point, he pretends to have swallowed him. The voice is incorporated into him. What one eats and drinks matters a lot, though it would appear superficially almost insignificant and off hand. Twice Chip lays out a place on a counter top with spoon, knife, and fork. One thinks of that gesture as an expression of a longing for a place at the table, which his whole life has lacked. After he and Theo have been together, have become boyfriends, he celebrates with what looks very much like votive candles and a bottle of wine. Life in this movie, in these superficially small ways, is ritualized. This is, of course, how dance transfigures the body. It makes it part of a rite of sorts, of art. Love is similar in the way it turns the carnal into the sublime. Such transformation is what any form of lyricism aspires to. The movie takes place in winter, after Christmas. Cynthia brings in her and her husband's Christmas tree lights. They appear in the movie, wrapped around the dancers' bodies at night, in the darkened studio. Once Chip is seen alone, his own body so lit. In a way, this might be seen as a figure for how dance works in this film (and outside of it, too). It is that illuminated body in a darkened room. Chip begins alone, unsmiling, more than a bit diffident. He has no place to live. What the film stresses over and over, even while Chip, say, is dancing his solo, is how dance is itself always communal, the body never just the body alone. Chip's discovery of happiness toward the film's end, therefore, is not just his alone either. It is part of the dance. It enters into it, as the dance has entered into him, the abstract (for the dance itself is an abstract piece, not a narrative one) united with the deeply personal. It is an expression of the joy of no longer being alone. Most films about dance have let the story, the narrative predominate. In this way, they fail dancing. But in Five Dances the story, the bits and snippets of plot and character that we see of the five people in it, are inextricably woven into the dances themselves. This movie is not about life here and art over there. It is about their simultaneity. Save for a few documentaries, I think it is perhaps the best film ever made about dance. As seriously it is a stunningly touching film, generous and compassionate, about how through art one comes to love and, perhaps for a while, perhaps for longer than a while, a human joy. Review: Another excellent production funded through Kickstarter! - Most enjoyable movie of, about, and by dance. Modern interpretive dance has always interested me and this was done well. Alan Brown did a bit of experimenting with Private Romeo that I thought was a beautiful gamble as well as with this. The Reviewer who said that this is not for everyone was right, however, it was well thought out and although a little slow had a lot of hidden meaning. The characters were great both in their acting and the positively beautiful dancing. The expressions Ryan Steele showed on his face were priceless and made me want to fall in love with him. The romance in this was very realistic and I felt satisfied when the movie ended. I will be buying the dvd on this movie, It is a fine item for my collection. Highly recommended, if you like modern dance, gay storyline (to a degree), and give it a chance it is a little slow. 5.0 Stars 07282014 ## Technical Specifications | Specification | Value | |---------------|-------| | ASIN | B00JV0543I | | Actors | Catherine Miller, Kimiye Corwin, Luke Murphy, Reed Luplau, Ryan Steele | | Best Sellers Rank | #70,434 in Movies & TV ( See Top 100 in Movies & TV ) #137 in LGBT (Movies & TV) #10,993 in Drama DVDs | | Customer Reviews | 4.3 4.3 out of 5 stars (495) | | Director | Alan Brown | | Item model number | 28935796 | | MPAA rating | NR (Not Rated) | | Media Format | Closed-captioned, Color, Dolby, Multiple Formats, NTSC, Surround Sound, Widescreen | | Number of discs | 1 | | Product Dimensions | 0.56 x 7.49 x 5.5 inches; 2.88 ounces | | Release date | July 29, 2014 | | Run time | 1 hour and 23 minutes | | Studio | Wolfe Video | ## Product Details - **Contributor:** Alan Brown, Catherine Miller, Kimiye Corwin, Luke Murphy, Reed Luplau, Ryan Steele - **Format:** Closed-captioned, Color, Dolby, Multiple Formats, NTSC, Surround Sound, Widescreen - **Genre:** Cult Movies, Drama - **Language:** English - **Runtime:** 1 hour and 23 minutes ## Images ![Five Dances - Image 1](https://m.media-amazon.com/images/I/81-7onw97wL.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ A Lyric Invocation to Love through Dance *by D***M on September 11, 2014* All dance pays homage to Eros. There are other gods it may invoke. But no art is as carnal as dance. Its meanings, no matter how abstract, must be incarnate. And they must be musical,at the very least rhythmic, responsive to the human pulse, just as the measures of poetry are. Five Dances is an original, innovative, beautiful, and above all lyric film. At its heart is its invocation to love through the body's movement, if by 'love' is meant many things in addition to the sexual: for example, the carefulness of touch, the suggestions of glance, the movements of arms and legs, and so on, in response to others' movements and touches and looks. It is lyric because as much of the story is told through those movements, through dance, as by words. In fact, the fundamental narrative of the film is in its choreography. I don't mean just the five dances isolated by the number titles, but throughout the movie as the choreography is tested, rehearsed, changed, prepared for performance. It is therefore a mistake to separate the "plot" of the film from the dance. Rather, they weave in and out of one another, as the dancers do so often in their dancing. How the dancers dance is affected by what has just happened or is about to happen in their lives. Their lives are part of the continuity of the dance. In the dance numbered three, for example, Chip is most isolated; he dances his solo. In the one numbered five, Chip and Theo dance together and how they dance is now transformed by their having been together in other ways shortly before. This way of living in and through dance is true for all four dancers, five if one counts the choreographer Anthony who is also part of his piece. The movie shows not only the dances, of course, but all the other dancers watching one another. The mirrors found in any dance studio play an obviously important part in this seeing. The dancers see each other but also themselves. This is perhaps most poignantly visualized at the movie's end when Chip and Theo happily, almost giddily dance for each other and for the mirror, seeing each other and being seen in a sense as the other sees him. At this moment, they are dancing freely, with no choreography, yet the fullest expression of their new love for one another might be found in this rhapsodic bodily freedom. The glimpses one sees in the movie of its dancers' lives are what their dancing expresses in other ways. Look, for instance, how Theo and Chip lean back to back, as they have done several times previously, at the last realization of this passage in the piece. But now the stance, the pressure, differ. It is expressive in a new way. Or note, earlier, after Cynthia and Anthony have had sex the previous night, how their bodies change. It is not just her little mistake. It is as much a matter of posture, of how the body is carried. It is full of erotic expression, even in its failures, its errors, its disappointments. Chip has a funny voice, a little man who talks when his mouth is closed. At one point, he pretends to have swallowed him. The voice is incorporated into him. What one eats and drinks matters a lot, though it would appear superficially almost insignificant and off hand. Twice Chip lays out a place on a counter top with spoon, knife, and fork. One thinks of that gesture as an expression of a longing for a place at the table, which his whole life has lacked. After he and Theo have been together, have become boyfriends, he celebrates with what looks very much like votive candles and a bottle of wine. Life in this movie, in these superficially small ways, is ritualized. This is, of course, how dance transfigures the body. It makes it part of a rite of sorts, of art. Love is similar in the way it turns the carnal into the sublime. Such transformation is what any form of lyricism aspires to. The movie takes place in winter, after Christmas. Cynthia brings in her and her husband's Christmas tree lights. They appear in the movie, wrapped around the dancers' bodies at night, in the darkened studio. Once Chip is seen alone, his own body so lit. In a way, this might be seen as a figure for how dance works in this film (and outside of it, too). It is that illuminated body in a darkened room. Chip begins alone, unsmiling, more than a bit diffident. He has no place to live. What the film stresses over and over, even while Chip, say, is dancing his solo, is how dance is itself always communal, the body never just the body alone. Chip's discovery of happiness toward the film's end, therefore, is not just his alone either. It is part of the dance. It enters into it, as the dance has entered into him, the abstract (for the dance itself is an abstract piece, not a narrative one) united with the deeply personal. It is an expression of the joy of no longer being alone. Most films about dance have let the story, the narrative predominate. In this way, they fail dancing. But in Five Dances the story, the bits and snippets of plot and character that we see of the five people in it, are inextricably woven into the dances themselves. This movie is not about life here and art over there. It is about their simultaneity. Save for a few documentaries, I think it is perhaps the best film ever made about dance. As seriously it is a stunningly touching film, generous and compassionate, about how through art one comes to love and, perhaps for a while, perhaps for longer than a while, a human joy. ### ⭐⭐⭐⭐⭐ Another excellent production funded through Kickstarter! *by M***R on July 29, 2014* Most enjoyable movie of, about, and by dance. Modern interpretive dance has always interested me and this was done well. Alan Brown did a bit of experimenting with Private Romeo that I thought was a beautiful gamble as well as with this. The Reviewer who said that this is not for everyone was right, however, it was well thought out and although a little slow had a lot of hidden meaning. The characters were great both in their acting and the positively beautiful dancing. The expressions Ryan Steele showed on his face were priceless and made me want to fall in love with him. The romance in this was very realistic and I felt satisfied when the movie ended. I will be buying the dvd on this movie, It is a fine item for my collection. Highly recommended, if you like modern dance, gay storyline (to a degree), and give it a chance it is a little slow. 5.0 Stars 07282014 ### ⭐⭐⭐⭐⭐ Beautiful Dancing *by B***Y on April 6, 2015* I've always been a big fan of dance. It's a rare combination of grace and athleticism. The five dancers in this movie are very talented people. They're accomplished dancers and actors. The plot should appeal to many. Many of us have been there and done that, only without the beautiful dancing. There were family problems, unrequited love, and the pure terror and pure happiness of first love. Now in the spirit of full disclosure, like many gentlemen of my persuasion, I have become a follower of Ryan Steele. His name is what drew me to this movie. Portraying an eighteen year old could have been the one thing that really could have tripped him up, but he pulled it off. The fact that he looked eighteen didn't hurt. However, this brings me to a part of the movie I didn't understand, and that was "The man in my mouth" schtick. I had the same reaction as the character, Jackie. Although, it did make me laugh, so I guess it was somewhat successful. This was a very beautiful movie. Be kind to yourself, watch this movie. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.vn/products/5621884-five-dances](https://www.desertcart.vn/products/5621884-five-dances) --- *Product available on Desertcart Vietnam* *Store origin: VN* *Last updated: 2026-04-23*