With Knockout, Rebecca September explores film noir and the figure of the femme fatale, presenting intricate sequences of movement using the theatrical mechanisms of seduction and illusion. How can a performance function as a femme fatal, luring the public into a labyrinth of micro perceptions and subtle relations? Conceived of as two parallel solos, the performers are put in constantly shifting relations of similarity and difference, proximity and distance. A dark and empty space becomes a series of settings from a film. Different locations are suggested through the use of sound. Likewise out of singular bodies different characters emerge and are caught up in an intrigue.

Knockout could very well be a choreographed variant of David Lynch's Mulholland Drive; an out of joint montage of constructed fantasies, desires and expectations