D A N T E  S O N A T A

a dance and piano film 

Perhaps the nearest I can get to Margaret Williams' vision for her film Dante Sonata is to call it ‘wildness speaking through aesthetic simplicity’. I always love her work for the surprises she springs. Strange and beautiful to go from snake-like bodies, dappled with piano notes, stops and strings, exploring the texture of objects and flesh to a harsh entrapping world where no doors open, and then to a lyrical phase of mutual tenderness, then back to something subterranean and confining. The blown leaves towards the end speak of the fleeting quality of life’s dance, of bodies separated, with vertiginous spaces all around them.  I also liked ending on the virtuoso pianist in wonderful sympathetic rage with the music.  The dancers are lovely.  I really liked the physical contrast between them.  And what marvellous grace!  How long does it take, I wonder, to be able to bring your foot level with your head with effortless ease?

Rose Tremain, Author

Dante Sonata

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