DREAM'S DESCENT, 10min., South Africa
Directed by Sara Gouveia, Inka Kendzia, Gregory Maqoma
“Dream’s Descent” is a hauntingly surreal dance film that traces the journey of a solitary dancer as he navigates a dreamlike landscape fractured by memory, identity and desire. Drawn into a shifting world where time dissolves and space contracts, he encounters fragmented versions of himself, each embodying a suppressed emotion, forgotten trauma or repressed aspiration. Through ritualistic choreography and symbolic confrontations, these encounters blur the line between self and shadow. As the dancer spirals deeper into the labyrinth of his subconscious, the movement becomes a language of reckoning.

Get to know filmmakers Sara Gouveia & Inka Kendzia

1. What motivated you to make this film?

At the heart of this film lies a fascination with the invisible barriers we build within ourselves: the fears, doubts and insecurities that often keep us from realizing our full potential. We were drawn to the idea that the greatest obstacles to our dreams are not external forces, but rather the internal landscapes of fear and self-limitation. This became our central question: “What do our fears look like, and how do we overcome them?”

The film became a journey to visualize and physicalize that inner struggle. By creating a surreal, nightmarish world, we sought to externalize the psychological space of fear: a realm where the subconscious takes shape and where the dancer must face the shadows of his own making. Dance, as a form of storytelling, allowed us to embody these emotions through
movement rather than words, while the integration of animation and NeRF models gave us the freedom to bend reality and craft a language that lives between the real and the imagined.

The three-part collaboration emerged from our desire to experiment with form and medium, in an attempt to find a new visual language that could express the complexity of human emotion. The combination of powerful, dramatically lit choreography and digitally manipulated environments creates a world that feels both tangible and dreamlike, reflecting the tension between fear and liberation.

Our tone and visual approach reflect the intensity of this inner confrontation. Though deeply rooted in a South African context, the film speaks to a universal truth: the journey of facing one’s fears and discovering strength within. By blending the local and the global, the real and the surreal, we aimed to create a piece that resonates across boundaries and invites
audiences to see their own fears mirrored in the dancer’s journey.

2. From the idea to the finished product, how long did it take for you to make this film?

It took about 12 months.

3. How would you describe your film in two words!?

Surreal dreamception ;)

4. What was the biggest obstacle you faced in completing this film?

We were all juggling different projects at the time, which made coordinating schedules a bit challenging. Balancing everyone’s availability and creative energy required some flexibility and patience, but it was all part of the collaborative process. Despite the logistical hurdles, the experience itself unfolded beautifully. Once we were together, the creative flow was effortless. The team brought such an incredible mix of talent, vision and openness to
experimentation that every session felt inspiring. It was one of those collaborations where everyone contributed something unique, and that collective energy really elevated the final piece.

5. There are 5 Stages of Filmmaking: 1) Development. 2) Pre-Production. 3)
Production. 4) Post-Production. 5) Distribution.

What is your favorite stage of the process and why?

All stages of filmmaking have their moments of absolute magic: from the first spark of an idea to seeing the final image come to life on screen. But perhaps the most freeing and creatively expansive stage is the development and writing phase. This is where the heart of the project begins to take shape, when the story is still fluid and full of infinite potential.

In this stage, there are no limits yet: no practical constraints, no production logistics, no compromises. It’s a space where imagination can roam freely, where every image, emotion and idea feels possible. The writing process allows you to dream boldly, to follow instinct and curiosity wherever they lead. It’s where the themes and emotional core of the film are discovered and refined, and where the unique tone and visual language begin to emerge.

Of course, later stages bring their own magic: the collaborative energy of production and the transformation that happens in post, but writing remains that rare moment when you can explore without boundaries. It’s the stage that reminds you why you wanted to tell the story in the first place, before the realities of budget, logistics and time step in. It’s pure creation; the moment where everything begins.

6. When did you realize that you wanted to make films?

Sara: I’ve always been fascinated by film, particularly independent cinema and experimental video art. From a young age, I was drawn to the way moving images could express emotion, atmosphere and ideas beyond the limits of spoken language. I remember being captivated by films that dared to challenge form and convention, pieces that felt more like visual poetry than traditional storytelling. That sense of creative freedom really spoke to
me and shaped how I think about visual expression.

My journey began with a background rooted in the visual arts. This foundation gave me a strong appreciation for the image as a standalone form of storytelling. Over time, that curiosity naturally evolved into filmmaking, first through documentary, which felt like the perfect bridge between observation and artistic expression. Working in documentaries
taught me how to listen, to find narrative within real life and to connect deeply with human experience. That intersection continues to inspire me: the idea that film can be both deeply personal and visually daring, a medium where truth and imagination coexist.

Inka: I am grateful to have grown up in an artistic family with generations of painters.

From an early age drawing and painting was my refuge from the world, creating dreamworlds and expressing hidden emotions in symbolism within artworks. During my early art directing career I was amazed at how film editing can truly transform any filmed material by giving shape to a story. I began teaching myself animation and motion design as I was also deeply inspired by the freedom of expressing in moving images.

I feel transformed when watching meaningful stories in which I can find myself in and I wish to be able to create films and artistic experiences that can do the same for others, thereby connecting humans to each other and themselves.

Greg: Point 6: My medium is in dance and telling stories through the body - I’ve always been fascinated by the ability of the body to express a variety of emotions. Many of my audiences have always expressed how my choreography feels like a film and I became more and more curious about making films. It was during Covid 19 that I seriously found the
spark to create dance films.

7. What film have you seen the most in your life?

Impossible to answer, but here go a few

Sara: Adaptation, Being John Malkovich, Mirror, Paris Texas

Inka: The Fall, Spirited Away, Pina, The Science of Sleep

8. What other elements of the festival experience can we and other festivals
implement to satisfy you and help you further your filmmaking career?

It’s always a real pleasure to connect with people in the industry, not just to exchange ideas, but to build genuine relationships that often lead to unexpected opportunities. Meeting other filmmakers and creatives is incredibly inspiring; hearing about their processes, challenges and unique perspectives always sparks new ways of thinking about our own work.

Collaboration is such a vital part of filmmaking and these conversations often become the starting point for future projects or partnerships.

If we’re able to set up some online meetings, that would be wonderful. It’s a great way to bridge distances, especially in a global creative community and to continue building those connections even when we’re not in the same place physically. We’re always open to sharing ideas, discussing projects in development, or simply exchanging experiences about the craft and industry; it’s those interactions that keep the creative energy alive.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

The platform has been very easy to handle.

10. What is your favorite meal?

Inka: Ramen Noodles

11. What is next for you? A new film?

Sara: I am currently finishing another short film called “The Nights Were Velvet”.

Inka: Together with Sara, I am currently developing an immersive VR experience.