Within Her Eyes began life on a theatre stage. In 2012, choreographer James Cousins won the inaugural New Adventures Choreographer Award with a 17-minute duet called There We Have Been — a piece built on one deceptively simple physical rule: the female dancer must never, at any point, touch the floor. It sold out at Sadler's Wells in London, and critics called it 'outstanding' and 'visually breath-taking'.

But Cousins had always wanted to turn it into a film. He felt that film could heighten the emotion in ways the stage could not — pulling the audience right into the dancers' faces, into the quiet Welsh wind, into the private grief running through the work. In February 2016, together with dance-film company Scratch, he released that film: Within Her Eyes.

The story it tells is gentle, painful, and deliberately unresolved. Two people — a man and a woman — circle each other in a grief-stricken landscape. She is holding on to someone she has lost; he is patient, devoted, and always there beneath her, lifting, catching, supporting. The piece asks the audience to sit with the tension between past love and new love — and leaves us, in its final shot, with a choice that is never made.

Cousins has said that his hope is for audiences to almost forget about the physicality and simply connect to the two people and their story. The dancers, Lisa and Aron, built the choreography with him through improvisation — filming everything, watching it back, and gradually stringing short phrases into one continuous 17-minute journey. What you are about to watch is the result.