REEL Art
2026-2027
Core Dance presents... REEL Art: Video Technology + Installation Art
REEL Art is a platform for original film installations - a contemporary art form that combines video technology with installation art - making use of the storefront windows of Core Dance’s studio building. Coupled with all aspects of the surrounding environment of the Decatur Square, passersby/the audience are affected by this ingenious visual experience. As an installation, this work is unique in its use and design for the Core Dance Studio windows.
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Films screen nightly, 7 nights each week, dusk until midnight.
Core Dance storefront windows – Square in Downtown Decatur.​
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Coming Soon
This program is supported in part by Georgia Council for the Arts through the appropriations of the Georgia General Assembly. Georgia Council for the Arts also receives support from its partner agency – the National Endowment for the Arts.
REEL Art Window Series #1
February 1-28, 2026
Adam Larsen's Access Point
Access Point is a one-hour immersive documentary that follows individuals with disabilities as they navigate vast and varied natural landscapes. Through intimate interviews and vivid on-the-ground footage, the film explores often-overlooked barriers to outdoor accessibility—alongside powerful stories of resilience, community, and empowerment that emerge along the way.
The development of the documentary began with a diverse group of participants connected to Bay Area disability organizations, including Ala Costa Centers, BORP Adaptive Sports and Recreation, The Center for Independent Living, The Disability Cultural Center at UC Berkeley, Friends of L’Arche San Francisco Bay Area, Creative Growth, and NIAD Art Center. These partnerships have provided invaluable insight, ensuring the film authentically reflects the lived experiences of people across a range of disabilities. By featuring participants who are Deaf, hard of hearing, blind, or who have mobility or cognitive disabilities, Access Point highlights the many ways disability intersects with the natural world. It becomes not just a story of overcoming obstacles, but also one of the universal human desire to engage with the outdoors—underscoring the transformative power of nature for all. Partnerships and participation in Access Pointare currently expanding, broadening its reach beyond the Bay Area to communities across the United States.
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As participants explore outdoor spaces—from hiking trails and national parks to beaches, forests, and rivers—Access Point reveals the barriers people face, including limited accessibility, lack of resources, and social or cultural exclusion. Each participant brings a unique relationship to nature: some are seasoned explorers whose access has been constrained, while others are encountering these landscapes for the first time. Through their experiences, the film captures the joy, reflection, and sense of empowerment that nature can inspire when inequities in access are addressed.
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At its core, Access Point is a story about inclusion, equity, and the right to experience the outdoors. It asserts that access to nature is a fundamental right—not a privilege—and examines how inaccessible outdoor spaces intersect with broader societal inequities. By connecting the disability community with the environmental movement, the film emphasizes that inclusive outdoor spaces are essential to a just and equitable society. It encourages a rethinking of how public spaces are designed and used, fostering collaboration between environmental and disability advocates and sparking a broader conversation about access, equity, and belonging.
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Ultimately, Access Point invites viewers to reflect on their own relationships to the natural world and to envision a future where outdoor spaces are welcoming to everyone. Through compelling storytelling and the beauty of natural landscapes, the documentary advocates for a world in which nature is a shared space—accessible, engaging, and inspiring for all.
The Artistic Vision
The artistic vision for Access Point is rooted in a deep connection to nature and the authenticity of the participants ’experiences. The film will be marked by a minimalist yet evocative style, focusing on the raw, unfiltered interactions between people and the natural world. The goal is to immerse the audience in the environment, conveying both the beauty and the challenges of navigating nature from the perspective of disability.
Visually, the film will feature wide, sweeping shots of diverse landscapes—towering redwoods, rugged coastlines, and expansive vistas—highlighting the vastness and beauty of nature. These grand views will often be contrasted with intimate close-ups of the participants, focusing on their physical engagement with the environment. The camera will linger on tactile details—such as a hand brushing against leaves or a wheelchair navigating a rocky path—intentionally emphasizing the sensory quality of these moments. Each shot will be framed to evoke a sense of connection between the participants and their surroundings, showing that nature is not merely an obstacle to overcome, but a place of profound encounter.
Through intimate, reflective interviews, participants will share both the beauty and the challenges of navigating these landscapes. These conversations will go beyond a simple recounting of experiences; they will capture the emotional resonance of connection—how nature, with all its wonder and obstacles, becomes a space for personal growth, resilience, and self-discovery.
Rather than relying on a traditional musical score, Access Point will use only the ambient sounds of nature to create an immersive emotional experience. From rustling leaves to crashing waves, these sounds will carry the emotional weight of the characters ’journeys. The absence of music will allow nature’s sounds to guide the emotional tone, whether in moments of tension, struggle, or tranquility. For instance, the harsh rumblings of thunder or the intensity of a storm will signal obstacles, while the calm of a gentle breeze will accompany moments of peace and connection. This natural soundscape will draw the audience deeper into the participants' world, enabling them to experience the physical and emotional realities of navigating these landscapes.
Ultimately, the artistic approach of Access Point seeks to create an intimate, sensory experience that fully immerses the audience in the participants' relationship with the natural world. Through its visual style, sound design, and blend of observational moments with personal interviews, the film will invite viewers to reflect on their own connections to nature and consider the importance of accessibility and inclusion in the ongoing conversation about the natural world.
REEL Art Window Series #2
March 1-31, 2026
Rosie Trump’s People in Cities, Home Movies & Try to Keep Up
People in Cities, 2020
“People in Cities” is a short stop motion dance film which assembles over three thousand still images. Paired with implied environments, four dancers navigate internal and external pressures. Referencing visual artist Robert Longo’s Men in Cities series, “People in Cities” is the second dance film in which director/choreographer Rosie Trump manifests the implied movement in Longo’s images.
Director & Choreographer: Rosie Trump
In Collaboration with Dancers: Jelani Best, Saleema Berry, Noelle Ruggieri, Moriah Wegman Director of Photography: Trisha French
Music: Jasmine Guffond
Home Movies, 2021
“Home Movies” consists of vintage found footage of people dancing. Living room dance parties, impromptu twirls down the street and in the kitchen, and birthday, holiday and wedding celebrations are excavated from vintage home movies. By collaging together scenes of movement, old footage is seen anew. “Home Movies” positions our contemporary normalizations of voyeurism against the privately intended moments of the past.
Director and Editor: Rosie Trump
Music: Florian Noack
Try to Keep Up, 2024
Materialized through movement and vocalization, “Try to Keep Up” captures the overwhelming feeling of ‘trying to keep up’ amidst the barrage of cacophonous and chaotic US news cycles and domestic political developments. Against a gritty industrial site, one performer sings a heart-breaking song where “try to keep up, try to keep up baby” is repeated over and over with increasing desperations. It is the physical embodiment of a cry for help when it feels like the world is crashing down on you.
Director & Choreographer: Rosie Trump
Dancers: Ozora Cheek, Keely Cobb, Melissa Ennis, Heather Rodriguez, Abby Rosen (vocalist)
Cinematographer: James Coleman II Tweaking Reality Studio
Music: Chance Utter (original composition)
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Core Dance presents... Rosie Trump
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Rosie Trump is the founder and chief curator of the Third Coast Dance Film Festival. She is the award winning choreographer/director/editor of eleven short dance films. She is interested in the reflexive nature of the camera lens and the cinematic possibilities of digital media. Trump’s dance films have recently screened at ADFs Movies by Movers, San Francisco Dance Film Festival, San Souci Dance Film Festival, Extremely Short Shorts at the Aurora Picture Show, Light Moves Dance Film Festival, Frame X Frame, and Dance Film Association’s Long Legs Short Films. Currently residing in Reno, NV, Trump is an Associate Professor of Dance at the University of Nevada, Reno.
REEL Art Window Series #3
April 1- May 1, 2026
Douglas Rosenberg's Miniatures & The Sea
Miniatures is a series of small, gestural performances for the screen by members of the cast of my recent feature film, The Sea, filmed completely on location at the edge of the Baltic Sea in the footsteps of Swedish filmmaker Ingmar Bergman on the island of Fårö, an extraordinary place that was Bergman’s home as well as the place in which he shot some of his most important and compelling films. The project explores the nature of aging and the relationship of men of my age to the landscape, to solitude and to community with a cast of largely untrained performers who come from the areas surrounding the island of Fårö. The film explores male intimacy, camaraderie and aging via men in their third age.
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The Sea, shot in breathtaking black and white, is an exploration of male intimacy, community, ritual, and art. Shot on the island of Fårö with a cast of committed non-professionals, the 60-minute screen dance invokes Ingmar Bergman with its showcase of performance and staging against the landscape of the Baltic Sea.
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The Sea Credits:
Director: Douglas Rosenberg
DP/Cinematographer: Paul Wu
Producer: Andreas Nordblom
Performer/Choreography: David Dorfman
Performer/Choreography: Benno Voorham
Performer/Choreography: Douglas Rosenberg
Editor: Paul Wu
Edit for installation (Miniatures): Aaron Granat
Core Dance presents... Douglas Rosenberg
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Douglas Rosenberg is the Vilas Distinguished Achievement Professor of Art at the University of Wisconsin-Madison. His work in video, performance and video installation has been shown both in the United States and internationally in museums, galleries, on public television and in festivals around the world. Rosenberg has received numerous grants and awards including, an NEA Dance/Film/Video grant, (with choreographer June Watanabe), an NEA/Southeast Media Fellowship, two Zellerbach Foundation grants, a Painted Bride Art Center New Forms Grant, (co-recipient with Li Chiao-Ping), a Wisconsin Arts Board Fellowship, an IZZIE award for his work with Ellen Bromberg and John Henry on “Singing Myself A Lullaby” and a Fellowship from The Project on Death in America for another project with Ms. Bromberg. His video dance, “My Grandfather Dances” with Anna Halprin was awarded the Directors Prize at the Jewish Video Festival, Judah Magnes Museum, in Berkeley. and he has been an artist in residence at The Institute for Studies in The Arts, Bates Dance Festival, and the International Festival of Video Dance in Buenos Aires, Argentina. His writing on screendance has been published in numerous venues and includes, Screendance: Inscribing the Ephemeral Image, published by Oxford Press and The Oxford Handbook of Screendance Studies which was awarded the Oscar G. Brockett Book Prize for Dance Research. Recent exhibitions of his work include, Dance on Camera Festival, New York, Video Festival Riccionne Teatro Televisione, Riccione, Italy, The Contemporary Art Museum in Buenos Aires, The New Museum of Contemporary Art, NY, Mostra de Vídeo Dansa de Barcelona, Spain, Kunsthaus Graz in Austria and many others. His most recent feature length dance film is The Sea, a black and white film shot completely on location at the edge of the Baltic Sea in the footsteps of Swedish filmmaker Ingmar Bergman in a landscape that inspired the project on the island of Fårö. The Sea explores the nature of aging and the relationship of men of the third age to the landscape, to solitude and to community, with a cast of largely untrained performers who come from the areas surrounding the island of Fårö.
 
Find outt more about Douglas Rosenberg at: https://www.douglas-rosenberg.com/
