Experiencing Interruptions?

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In this compelling, fictional Ballet documentary, former Prima Ballerina, Lydia Carmichael, shares her extraordinary journey from 1950s Nebraska to New York's prestigious School of American Ballet, and beyond.

Inspired by a childhood trip to see Margot Fonteyn perform Swan Lake at the Met Opera House in New York, and then trained by her late father, sixteen-year-old Lydia leaves home to pursue her dream of becoming a Prima Ballerina. Through candid recollections, Lydia reveals the harsh realities of living in 1970s Manhattan, training under the legendary choreographer–George Balanchine, and her unrelenting devotion to her art. At the same time she offers us a rare glimpse into the unforgiving world of professional ballet.

With the exception of the original short story and adapted screenplay, accompanying soundtrack and a small selection of licensed stills, all Visual Production for this short film has been created using GEN Ai, combining traditional filmmaking techniques with current digital tools. No performance capture was used.

All creative direction, narrative storytelling, structure, editorial decisions, grading and final assembly were authored and supervised by the filmmaker.

BALANCHINE is a Trademark of The George Balanchine Trust

  • Max Dennison
    Director
  • Max Dennison
    Writer
  • Project Type:
    Documentary, Experimental, Other
  • Runtime:
    23 minutes 32 seconds
  • Completion Date:
    November 4, 2025
  • Production Budget:
    250 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Language:
    English
  • Shooting Format:
    Gen Ai
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
  • AI Film Festival Monaco

    June 10, 2026
    Top 4 Finalist: Best AI Film
  • Meta Morph AI Awards

    June 9, 2026
    Nominee: Best Documentary
  • MetaCannes Film 3 Festival

    April 11, 2026
    OFFICIAL SELECTION: Doc/Mocumentary
  • AI Film Awards Cannes

    February 25, 2026
    OFFICIAL SELECTION - AI Documentary Awards
  • New York Film Awards

    February 10, 2026
    WINNER - Best AI Film
  • LAAIMPA (Los Angeles AI Movie Picture Awards)

    January 30, 2026
    WINNER - Best AI Created Character
  • Top Shorts Film Festival

    January 29, 2026
    WINNER - Special Jury Award
  • Los Angeles Film Awards

    January 2, 2026
    SEMI-FINALIST - Best AI Film
  • Pageant Film Festival

    December 28, 2025
    WINNER - Best AI Film (Documentary)
Director Biography - Max Dennison


I'm a Senior Visual Effects Supervisor, writer, and filmmaker with thirty years’ experience across feature films, television and immersive design. My background spans an early career in Fine-Art and Illustration, Matte Painting, through to creative direction. I’ve worked with major VFX studios around the world including Weta, ILM, DNEG, Framestore, and Cinesite, on over 65 productions including The Lost Bus, Chernobyl, Emerald City, Star Wars: Revenge of the Sith, The Lord of the Rings trilogy, the Harry Potter series, and Shakespeare in Love.

My work on Chernobyl was recognised with a Primetime EMMY, a VES Award, and a Broadcast Tech Innovation Award, and I've been twice BAFTA-nominated for my contributions to television. I was also named one of Variety’s ‘Elite Artisans’ in 2019.

My focus has always been on projects where visual effects principally serve story and character — where restraint and realism carry as much impact as spectacle. I am currently exploring AI as a storytelling medium where it can support the film-making process.

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Director Statement

Visual storytelling in Film, in its simplest form, is an expression and collaboration of ideas, made real on the screen, and often told with extraordinary warmth, dedication, and love by those at its core.

Having spent my professional life in the film industry, I have witnessed many seismic shifts in technology and Generative Ai is merely the latest. As a Creative, I view it as an enabler - not as a creator. It is one more film making tool to help work and shape my own creative ideas into fruition. The stories I could not tell twelve months ago, I can now. This film, along with my other work in VFX, remains truthful and respectful to the art of visual story telling, and ultimately of being suddenly swept away into another world.

Storytelling should not be defined by its process, but instead by the passion and sense of adventure which is held deep within the tale that is being told.