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CPH-DOX-The Bones

The Bones


The Bones traverses the globe alongside paleontologists on a quest to unearth dinosaur fossils that may hold the key to save humanity from extinction. It’s a race against time before the bones disappear into the hands of fossil dealers, who stand to make millions by selling them on the open market. A cinematic adventure that reaches from the Mongolian Gobi Desert to the floor of a Paris auction house, The Bones exposes the clash between science, post-colonial reckoning, and hard-headed capitalism.


Jeremy Xido


Jeremy Xido is a filmmaker and performance artist whose work has taken him around the world in an exploration of complex issues of community and personal identity. His approach to stage and film blends emotionally gripping personal stories with the larger social contexts from which they emerge.

Originally from Detroit, Jeremy graduated cum laude in Painting and Comparative Literature from Columbia University in New York.

A Fulbright and Guggenheim fellow, he studied at the Actor’s Studio and since 2003 has been the artistic co-director of the performance and film company CABULA6, which was voted “company of the year 2009” by Europe’s prestigious performance magazine, Ballettanz, and awarded “Outstanding Artist of the Year 2010” by the Austrian Ministry of the Arts.


Jeremy’s award-winning feature documentary «Death Metal Angola» has screened at more than 80 film festivals including Rotterdam, Dubai, BAFICI, Sydney, CPH:DOX, and DOC NYC. Reviews in Indiewire and the Hollywood Reporter have described it as “riveting,” “absorbing, beautifully shot… superb,” “raucously crowd pleasing,” and “a cult classic in the making.” It opened theatrically in the United States, in November 2014.

Jeremy’s three-part solo stage performance «The Angola Project» developed with funding from the European Union and a residency at the Experimental Music and Performing Arts Center (EMPAC), has premiered around the world at venues such as Impulstanz in Vienna and PS122 in New York. The New York Times found it a “marvelously quixotic…jostling collage that is intimate yet informed by sweeping issues surrounding class, race and identity.”


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