We have Bled takes us deep into private emotional battlegrounds. Three people caught in the turbulence of a relationship; fragile intimacy ruptured by impulsive ferocity. 

“Film has the advantage of moving the audience exactly where the director wants; both the distance and perspective can change as well as the frame of vision and the clarity of focus. We have bled emphasised these advantages so much it stood out for pushing beyond ‘dance on film’ and even ‘dance as film’ to a mature creative genre of ‘film as dance’.”

“The motion of the camera sets up a tantalising superimposition of bodies and architecture moving in and out of focus within and through the frame — sometimes multiple frames within the same shot — at different rhythms. In the editing Waterloo thus sets up a poetic syntax that enhances what we see, building emotional traces like brush strokes on a canvas. This process, Waterloo writes, is like ‘excavating the human heart…the film is about people: you see straight into people’s hearts and souls, and what is possible — what great potential there is. Editing is about totally surrendering; it’s a natural response.’

The originality of We have bled is in its creation of an intoxicating juxtaposition of choreographic images to create the suggestion of a narrative.”

Nicholas Minns  – Writing about Dance