Beatriz Stix-Brunell in a still from "Friend & Foe"

Courtesy Frederic Van Strydonck

In This New Short Film, Beatriz Stix-Brunell Shares Why Her Pointe Shoes Are Both Friend and Foe

"The pointe shoes are part of my instrument," says Royal Ballet first soloist Beatriz Stix-Brunell in the new short film "Friend & Foe," a two-minute exploration of Stix-Brunell's love/hate relationship to her pointe shoes. "They're like a second skin to me," she says, later adding, "And it never gets easier."

"Friend & Foe" was directed by Belgian filmmaker Frederic Van Strydonck. And though it's hard to believe, the whole thing was shot on his Xiaomi MI 10 cell phone. The film is presented by Xiaomi Studios, a promotional branch of the Chinese electronics company.


Van Strydonck shot the film in just under two hours in an empty, blue-lit studio, catching Stix-Brunell's dancing from a number of interesting angles. The sound is beautifully amplified, giving viewers an intimate sense of the creaks and squeaks that come with breaking in new pointe shoes. "I wanted to film ballet in a way I've rarely seen," says Van Strydonck. "It's usually filmed at a distance so you see the dancers fully. However, since we were using phones, I was able to get some different vantage points, such as a view from above."

In a time when people are stuck at home due to COVID-19 and learning to rely just on the essentials, "Friend & Foe" is an inspirational reminder that you don't need a lot of fancy equipment to create something beautiful.

Latest Posts


Left to right: Dance Theatre of Harlem's Daphne Lee, Amanda Smith, Lindsey Donnell and Alexandra Hutchinson in a scene from Dancing Through Harlem. Derek Brockington, Courtesy Dance Theatre of Harlem

Dancers Share Their Key Takeaways After a Year of Dancing on Film

Creating dances specifically for film has become one of the most effective ways that ballet companies have connected with audiences and kept dancers employed during the pandemic. Around the world, dance organizations are finding opportunities through digital seasons, whether conceiving cinematic, site-specific pieces or filming works within a traditional theater. And while there is a consistent sentiment that nothing will ever substitute the thrill of a live show, dancers are embracing this new way of performing.

Keep reading SHOW LESS

#TBT: Mikhail Baryshnikov in "Fancy Free" (1981)

In Jerome Robbins's 1944 ballet Fancy Free, three sailors on leave spend the day at a bar, attempting to woo two young women by out-dancing and out-charming one another. In this clip from 1981, Mikhail Baryshnikov, who was then both the artistic director of American Ballet Theatre and a leading performer with the company, pulls out all the stops to win the ladies' affections.

Keep reading SHOW LESS
Bethany Kirby, Courtesy Tulsa Ballet

An Infectious-Disease Physician on What Vaccines Mean for Ballet

As the coronavirus pandemic grinds into its second year, the toll on ballet companies—and dancers—has been steep. How long before dancers can rehearse and perform as they once did?

Like most things, the return to normal for ballet seems to hinge on vaccinations. Just over 22 percent of people in the U.S. are now vaccinated, a way from the estimated 70 to 85 percent experts believe can bring back something similar to pre-pandemic life.

But what would it mean for 100 percent of a ballet company to be vaccinated? Tulsa Ballet artistic director Marcello Angelini is about to find out—and hopes it brings the return of big ballets on the big stage.

"I don't think companies like ours can survive doing work for eight dancers in masks," Angelini says. "If we want to work, dance, and be in front of an audience consistently and with the large works that pay the bills, immunization is the only road that leads there."

Keep reading SHOW LESS

Editors' Picks