Family defines us, but it can also be redefined. Some of the festival's projects show us new forms of solidarity and instil the idea of the chosen family: the one that supports and the one that allows us to be ourselves.

This 'family strength' is to be found in Pumpitopera Transatlantica by MEXA collective, founded in 2015 following outbreaks of violence in so-called homeless shelters in São Paulo. Since then, the collective has been exploring the relationships of proximity and distance between life and art, the street and the institutions. In the space of C12, they create a show that revisits Homer's Odyssey and takes us on a journey between theatre and celebration.

From an ocean away, Nadia Beugré's Prophétique (On est déjà né-es) draws a new portrait of femininity. The choreographer created this project with people in gender transition in Abidjan, who are also working in hair salons. The stage becomes a space of continuous transformation between hair salon and dancefloor, and a safe space for them. The dance embodies the language of a new form of solidarity.

The factory can also be a chosen family, even – especially – when production stops. With Il Capitale. Un libro che ancora non abbiamo letto, the Italian company Kepler-452 joined in solidarity the occupation of a factory that was closing down and laying off 422 workers in the process. Strong links exist beyond the production. A hymn to the dignity of work and life.

The dancefloor is Alex Baczyński-Jenkins' next playground in Untitled (Holding Horizon). Entering this old sports hall, you feel as if you are entering an underground nightclub, where a community of queer dancers come together to support each other through dance. Polish songs from the 70s, insect noises and contemporary music make up a hypnotic experience that is as delicate as it is powerful.

Finally, in 笑顔の砦 Egao no Toride (Fortress of Smiles), it is the space between two neighbouring families that gradually reveals new bonds and forms of solidarity. Trained as a painter and psychoanalyst, Kurō Tanino signs a hyper-naturalist piece and a touching story made of small daily gestures.