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The Line, the Cross & the Curve (1993)

A singer struggles to dance well in rehearsal with her band. A power outage leaves her alone in the studio, reviewing her life, when a mysterious woman appears through the mirror and gives ... See full summary »



1 nomination. See more awards »


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Cast overview, first billed only:
Kate Bush ...
Lindsay Kemp ...
Lily ...
Stewart Arnold ...
Male dancer
Christopher Banaman ...
Member of The Four Angels
John Chesworth ...
Member of The Four Angels
Vernon Nurse ...
Member of The Four Angels
Robert Smith ...
Member of The Four Angels
Paddy Bush ...
Member of The Devils
Colin Lloyd Tucker ...
Member of The Devils
Stewart Elliott ...
Band Musician
Danny McIntosh ...
Band Musician
Kevin McAlea ...
Band Musician


A singer struggles to dance well in rehearsal with her band. A power outage leaves her alone in the studio, reviewing her life, when a mysterious woman appears through the mirror and gives her a pair of Red Shoes. The cursed shoes dance beautifully, but endlessly. The singer is drawn irresistibly into the fey world beyond the mirror, where she must redeem three magic symbols from the mysterious woman in order to obtain release from the cursed shoes. Written by Karen Newcombe <kln@sirius.com>

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Plot Keywords:

independent film | See All (1) »


Short | Music





Release Date:

6 May 1994 (UK)  »

Company Credits

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Mysterious Woman: And this curve, is your smile. And this cross, is your heart. And this line, is your path.
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References The Red Shoes (1948) See more »


And So is Love
Words and Music by Kate Bush
Performed by Kate Bush
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User Reviews

raw genius
27 August 2005 | by (United States) – See all my reviews

Kate Bush's longtime fans know that it's a mistake to expect conventional music from her (as everyone will be able to verify in the fall of 2005, when her first album in more than 12 years is scheduled to be released at last). It would be just as much a mistake to expect conventional film-making from her. Bush's music is often accessible, but don't look for linear narrative, expository dialog, establishing shots or even consistent angle of view. Kate Bush tells stories not directly, not rationally -- in other words, not from a distance. Rather, she lets her viewers experience her characters' situations from within the vertigo they themselves are experiencing. For example, during the section featuring the song "Moments of Pleasure," there are extended twirling shots done not for want of imagination (Kate Bush lacking imagination?!) but to reach intended expressive and dramatic ends while simultaneously paying tribute to past cinematic models (the most direct references are to the 1948 classic 'The Red Shoes,' by Michael Powell and Emeric Pressburger, the former of whom Bush befriended shortly before his death in 1990 and in honor of whom her attendant album of 1993 was named). When the camera twirls again at several other key points in the film, it becomes clear that camera movement has emerged as a new tool in Kate's rich, thematic symbol-language (the title refers to three slips of paper, each featuring a visual symbol, all fluttering in constant motion throughout the film). Likewise the lighting, costumes, sets, choreography, and dialog insinuate themselves impressionistically, subtly, allusively -- pointing the viewer gently toward unanswered questions, hiding within the glorious folds of Bush's musical cloak-of-many-colors. There is profound organized thinking in every frame of The Line, the Cross and the Curve, but it doesn't appear at first viewing. Fortunately, you don't need to look for clarity to appreciate Kate Bush's art: there's plenty of sheer entertainment value to be had found in the sublime riot of raw genius.

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