Force of Nature Natalia, Osipova documentary

For balletomanes the world over the name Natalia Osipova needs no introduction. On the contrary: the Russian Principal with Britain’s Royal Ballet is idolised for her technique, her explosive jump and her ability fully to inhabit a wide range of characters.

Force of Nature Natalia, now showing in cinemas UK-wide, takes us up close and personal with Osipova as she rehearses a variety of roles, from the great classics, such as La Bayadère, to contemporary works created on her, such as Arthur Pita’s The Mother.


Force of Nature Natalia includes some fascinating clips from child Osipova’s early days as a ballet student in the Moscow State Academy of Choreography, from where she graduated straight into the Bolshoi Ballet, before leaving and eventually joining The Royal Ballet in 2013.

The documentary also counts on contributions from two veteran British dance writers, Judith Mackrell and Sarah Crompton, each trying to put into words those undefinable qualities that make Osipova the unique dancer that she is.

Even more telling, perhaps, are the words of the great Natalia Makarova, shown in Force of Nature Natalia coaching Osipova in the role of Nikiya, the doomed temple dancer, in Makarova’s own production of La Bayadère: ‘Even Vaslav Nijinsky could envy her, I think.’ (The early 20th century Ballets Russes dancer, Vaslav Nijinsky, was famed for his superhuman jump).

Having danced, and dazzled in all the principal roles of the classical/Romantic canon, over the past few years Natalia Osipova has become increasingly interested in branching off into contemporary dance; and some of the most telling and absorbing sequences of Fox’s documentary are those that show her co-creating contemporary works with fiancé Jason Kittelberger (they plan to marry in the summer) and choreographer Arthur Pita.

Force of Nature Natalia also includes quite a few clips of Osipova herself talking about her art, her English endearingly accented but totally fluent.

However, great dancers express themselves primarily through their dancing and their bodies, and so it is with Osipova, who is, above all, an instinctual artist. The very many sequences of Osipova’s sublime dancing, and her inquisitive approach to creation and rehearsal are infinitely more gripping than her words, and justly provide the central focus of this fascinating documentary.