Welcome to the post-hip-hop era. Fashion photographer and music vid maker David LaChapelle's exhilarating entry into feature docus, "Rize," takes "krumping," ---- wildly energetic dancing that blends avant-garde with athletics -- off the streets of South-Central Los Angeles and into the mainstream. Eye-popping lensing and an appreciation of social complexities combine for an entirely satisfying experience that will auds out of their seats -- in a good way. Lions Gate's pickup at Sundance will help get the pic in front of crowds of youths, from the 'hood to the 'burbs, game for the next new thing. Vid will get its groove on.

Welcome to the post-hip-hop era. Fashion photographer and music vid maker David LaChapelle’s exhilarating entry into feature docus, “Rize,” takes “krumping,” —- wildly energetic dancing that blends avant-garde with athletics — off the streets of South-Central Los Angeles and into the mainstream. Eye-popping lensing and an appreciation of social complexities combine for an entirely satisfying experience that will auds out of their seats — in a good way. Lions Gate’s pickup at Sundance will help get the pic in front of crowds of youths, from the ‘hood to the ‘burbs, game for the next new thing. Vid will get its groove on.

Whether krumping stays fresh and avoids trendiness once it goes wider is part of the pic’s unknowable legacy, but leading krumpmeister Dragon tries to neutralize this effect right off the bat by insisting to the camera that “this is not a trend.” Because krumping’s dance moves are explosive and hyper-kinetic — a krumper in full motion looks like a human rubber band snapping up and down and sideways — style could either take over the dance floor or seem too difficult.

Docu is an expansion of LaChapelle’s previous Sundance foray, his short “Krumped,” which earned an honorable mention nod last year, and continues an extremely unlikely union between one of Vanity Fair’s top photogs and poor kids in the ghetto. Brief introduction establishes a historical context for non-Angelenos with clips of the 1965 Watts Rebellion and what pic terms “the 1992 Rodney King riots” (which others view as the city’s second modern urban rebellion).

Out of the ’92 ashes, the resourceful Tommy Johnson created a persona called “Tommy the Clown,” blending a traditional birthday party clown act with hip-hop attitude and a strong anti-gang message. Hugely popular in South Central, Johnson developed his own Clown Academy, which fostered the outbreak of more than 50 clown groups in the area — a cheery, goofy but dedicated performing league meant to draw youth away from gangs with scene-stealing dance moves and non-violent fun.

As Johnson’s closest younger friend Lil Tommy puts it: “It’s either gangs, or clown groups.”

But after nearly a decade of leadership, Johnson found a younger generation was taking clowning and turning it into krumping. Not exactly suited to birthday parties, the new dance is lensed by LaChapelle with extraordinary vigor and sympathy for its radical physicality, in which pairs of dancers gyrate around or against each other (even pushing each other). High-culture fans may spot links here to many contempo choreographers, but LaChapelle and ace editor Fernando Villena brilliantly draw a direct visual correlation with ancient African tribal dance.

Private lives of Johnson and emerging krumpers like the impressive Dragon and Miss Prissy reveal heartache, split families and tragedy, so that the krumping moves are easily read as a physical release and expression of anger and alienation, artfully re-directed. Pic doesn’t turn itself over to telling many personal stories, but with so many bodies gyrating and emotions taking flight, it doesn’t really need to.

The closest to an enclosed sequence occurs when Johnson hosts a clown vs. krump contest at the Great Western Forum, which plays out in raucous, sports-movie fashion, but is then sent into unexpected tragedy once the victorious Johnson gets back home. There’s a sense of a passing of the flame from Johnson to the likes of Dragon, and a rousing finale decorated in the style of a glossy musicvid hints at young stars in the making.

LaChapelle thankfully avoids this gloss for most of “Rize,” opting instead for a stripped-down shooting approach more interested in the subject than showing off. Music tracks are mostly original, commenting on the new krumping culture.

Rize

Production

A Lions Gate release of an HIS/Dark Fibre production. Produced by David LaChapelle, Marc Hawker, Ellen Jacobson-Clarke, Richmond Talauega, Tone Talauega. Executive producers, Ishbel Whitaker, Barry Peele, Jacobson-Clarke, Stavros Merjos, Rebecca Skinner. Directed by David LaChapelle.

Crew

Camera (color, DV), Morgan Susser; editor, Fernando Villena; music, Red Ronin Prods., Amy Marie Beauchamp, Jose Cancella; music supervisor, Jonathan McHugh; makeup, Nathan Hamilton, Linda Sammut, Gregory Alt, Melanie Glover, Tiffany Johnson, Brian Lewis; sound, Tim Hays, John Bailor, Melissa Saris, Earl McGilun, Taylor Tosh, Mat Dennis, Mark Patino; supervising sound editors, Mark Mangino, Pat Foley, Chris Aud; line producers, Coleen Haynes, Drew Carolan, Scott Kaplan. Reviewed at Sundance Film Festival (American Spectrum), Jan. 22, 2005. Running time: 85 MIN.

With

Tommy the Clown, Lil Tommy, Larry , Swoop, El Nino, Dragon, Lil C , Tight Eyez, Baby Tight Eyez, Daisy, Big X, Miss Prissy, La Nina, Quinesha.
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