MANON DE BOER’S 16-MM FILM Dissonant, 2010, begins modestly but invitingly. The first movement of Belgian composer Eugène Ysaÿe’s 1923 Sonata no. 2 for Solo Violin plays over a black screen, the music quoting from Bach’s joyous Partita no. 3 in E major, which intertwines with and increasingly yields to Ysaÿe’s own dazzling modernist tones. After a brief passage of white leader—a self-reflexive gesture common in the Dutch artist’s films—a close-up appears of the dancer Cynthia Loemij listening intently to Ysaÿe’s two-minute composition (one that she’s never had the chance to dance to, until now, although it played when she was offstage at a memorable performance twenty years ago). With her figure framed against the four large windows of a dance studio, her shifting expressions echo the music’s quick tempo and jumpy flourishes. After the sonata ends, Loemij suddenly arcs her body backward,
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