If the examination of the German expressionist film of the 1920s was at the beginning only one of several sources of inspiration, it now moves to the center. Jacopo Godani seeks to transfer the strong, exaggerated expressive means of films such as Nosferatu or Metropolis into a contemporary choreography, their drasticness, their impact, even their bizarre creepiness. The preoccupation with the 100-year-old classics becomes an exciting field of experimentation - and leads the company close to its own core. Godani's artistic self-image is characterized by the expanded possibilities of physical expression, up to alienation, amplification, exaggeration and exaggeration.
