EKHO
2026 · 2m
Directed by Maxime Prémorvan
Genres: drama, experimental, surrealism
Tones: contemplative, melancholic, tender
By a lake, Anaïs, a dancer whose body is gradually failing her, is overtaken by memories and finds the strength to rise and sketch one fragile movement, as the present slips toward a stage where her former body still dances.
Picked by Zoe
The scouts
The body-as-memory conceit is spiritually competent but arrives trailing a decade of dance-trauma precedent—Prémorvan needed to crack the form itself to earn the melancholy, and a two-minute runtime neutered the experimental teeth.
Elegant in its restraint and clearly versed in the lineage of embodied cinema from Akerman onward; the layering of present and phantom self speaks to a filmmaker attuned to modernist doubling, even if the execution settles into something more refined than formally urgent.
That moment when Anaïs's lived movement mirrors her spectral twin—the decision to let both bodies occupy the same frame without cutting away—transforms a conceptually familiar premise into something tactile and irreplaceable.