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I agree, a word we sometimes use is “cinedance”. I believe the uniqueness of the approach is that the dancing “belongs” in the scene, yet again it does not: we explore that fine line where the dance’s agency is attributed to both character and performer, or oscillates between them. We thusly set up spaces that work both towards the narrative and are also abstract. In other words, when developing a scene, we would ask ourselves: “would the character in this situation really dance now?” and Drosia would come up with sequences that elicited a “yes” or “no” answer, but also quite frequently made us forget that we needed to ask the question in the first place. Then we’d consider how to better convey that visually. This process is radically different from a traditional screendance production, so it follows that the result would be as well.