film.

Director, Editor, Producer: Constance Anderson

Choreographed by: Constance Anderson and Addison Cambia
Performed by: Addison Cambia, Maeve Friedman, Alex Seager, and Mads Ward
Music by: BleBiru 
Videography and Color by: Garrett Ranger

Costume Construction and Design: Meagan 
 

Sissy reclaims endurance as an assertion of queer existence. Rather than depicting struggle, the film centers bodies that refuse to vanish—bodies that take up space without apology. It draws from the language of performance art, turning movement into a cinematic monument to persistence. The use of plant armor expands this idea, transforming the performers into both warriors and living sculptures, standing firm in the face of erasure.

 

Shot entirely on 16mm film, Sissy embraces the raw, tactile quality of celluloid to heighten the tension between disappearance and permanence. The cinematography captures layered imagery, embedding bodies within architecture and nature to deepen the film’s exploration of presence.

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This project was funded by the College of Fine Arts FAF Grant

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For a viewable link, please contact sockoperadance@gmail.com

Director and Editor: Constance Anderson

Choreographed by: Constance Anderson and Addison Cambia
Performed by: Addison Cambia
Music by Tin Hat Trio Compay, BleBiru, Giacomo Puccini and sung by Renata Tebaldi
Videography and Color by: Ryan Ross
 

Romancing You is an experimental film that disrupts traditional viewing by transforming each screening into an intimate and unpredictable experience. Instead of a single, collective projection, the film is accessed via a QR code, directing viewers to their phones. What begins as a solitary, private encounter gradually unfolds into a site-specific phenomenon, shaped by time, place, and participation.

 

As each viewer presses play at a different moment, the film fractures across space—some witnessing its quiet beginnings while others are deep in its unraveling. In public, this scattered timing creates a layered, environmental soundscape, a chorus of asynchronous echoes. In solitude, it becomes an isolated transmission, whispered through a personal device. The film’s meaning morphs with context, its presence shifting from private to communal, from controlled to chaotic.

 

Romancing You is not just a film; it is an event that rewrites itself in real-time, dissolving the boundaries between audience, site, and screen.

 

A solo just for you.

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For a viewable link, please contact sockoperadance@gmail.com

Director, Editor, Videographer, and Colorist:  Constance Anderson 

Choreographed by: Constance Anderson, Sicily Demmerly, Allison Shafter, Terra Killpack-Knutsen, and Em Zinn

Performed by: Sicily Demmerly, Allison Shafter, Terra Killpack-Knutsen, and Em Zinn

 

A film made purely from rules developed by the dancers. Shot on 16mm.

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1. Once the boundaries of the box are crossed, the performer must perform. The box is a 4”x4” stage.

2. While inside the box, the performer cannot see outside the perimeters. The performers’ field of vision becomes nearsighted.

3. The floor does not have to be the floor.

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For a viewable link, please contact sockoperadance@gmail.com

Directed, edited, and filmed by: Constance Anderson

Choreographed by: Constance Anderson and Katherine Boyce

Performed by: Katherine Boyce

 

A 16mm film that explores freedom in female sexuality through the aesthetic of “cool,” inspired by the 1960s Americana beatnik movement. The film plays with tension between analog and digital and physical and metaphysical.

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For a viewable link, please contact sockoperadance@gmail.com

Directed and Edited by: Constance Anderson

Choreographed by: Constance Anderson and Alexia Maikidou-Poutrino

Performed by: Alexia Maikidou-Poutrino

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This two-channel film explores themes of perception, longing, and embodied resonance through the journey of a fencer searching for their partner. Rather than relying on sight, the fencer navigates their environment using echolocation—responding to sound, vibration, and movement as guiding forces.

 

The dual-channel format enhances this search, presenting parallel yet disjointed perspectives. On one screen, we may see the fencer moving through space, striking, listening, and adjusting, their body attuned to the echoes of their own gestures. On the other, fragments of their missing counterpart flicker in and out—perhaps as shadows, distorted reflections, or distant reverberations of movement. The two screens interact, sometimes aligning in near-synchrony, other times slipping out of phase, mirroring the push-and-pull of pursuit and absence.

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The film plays with fencing’s inherent paradox: it is a dance of attack and defense, precision and instinct, connection and separation. Here, the fencer’s search is both physical and existential—a metaphor for relationships, memory, and the ways bodies communicate beyond language. The use of echolocation heightens this, transforming the fencer’s blade into an instrument of perception rather than just combat.

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This film was featured by lovedancemore in Salt Lake City

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For a viewable link, please contact sockoperadance@gmail.com