CDK Company Builds a Dance Film around Gotye’s Song

CDK Company performs a dance film to Gotye’s ‘Somebody That I Used to Know’. The choreography connects individual gestures with larger formations, using the dancers’ shared timing and the changing camera view to give the song a visual progression.

Sergio Reis’s official upload credits him with direction, choreography, styling and editing. Those credits identify a prepared film production, where the arrangement of movement and the way it is photographed belong to the same designed presentation.

The opening directs attention toward an individual before the larger group becomes prominent. That change of scale gives the choreography a clear point of departure, allowing later ensemble patterns to emerge from a smaller and more focused beginning.

Costume and movement work together within the scene. The dancers’ clothing gives the group a shared visual character, while their gestures and changing positions create differences inside that common setting as the song continues.

The official dance film below is the main reference for this article. Watching it from the beginning keeps the individual opening connected to the wider formations, preserving how the choreography develops through the complete musical sequence.

Watch the performance

The group’s timing makes separate bodies readable as one arrangement. A coordinated change can shift the viewer’s attention across the space, allowing the choreography to move between a single performer and the combined visual weight of the ensemble.

A repeated musical figure can also provide a recurring point for movement. The dancers do not need to perform an identical action every time it returns; variation allows the choreography to develop while retaining a connection with the song’s structure.

The camera adds another form of direction to that work. A closer frame can emphasize a gesture, while a wider view restores the formation around it. The film therefore depends on both the choreography and the chosen visual perspective.

Changes in formation alter the scene without requiring another location. A group can turn, separate or gather within the same space, making the relationships between dancers part of the film’s continuing visual composition.

The source image captures the larger ensemble within that setting. The full video supplies the transitions around the still, revealing how the dancers reach and leave a formation rather than presenting a single position as the whole routine.

This production should not be treated as an accidental gathering or an unrehearsed public flash mob. Its own credits establish the prepared film context, which gives the coordination and visual arrangement their appropriate place in the description.

The familiar song remains a musical thread through the changing images. Its progression supplies a sequence against which the movement can be followed, while the dancers and camera give that sequence another layer of visual form.

Reis’s companion CDK film set to ‘Bittersuite’ is a different work. It provides another example of the company’s filmed choreography, with its own song and production choices rather than another recording of the Gotye routine.

The World of Dance Eindhoven 2024 showcase is also a separate performance context. It places CDK within an event recording, allowing comparison with the dance film while keeping the stage appearance distinct from the main production.

Those sources show why setting matters when discussing choreography. A film can determine the viewer’s perspective through its camera and editing, while a showcase has a different surrounding space and presentation attached to its occasion.

CDK’s Gotye film turns coordinated bodies and camera framing into a shared visual arrangement. The official production preserves the progression from individual focus to ensemble movement, providing the direct reference for this particular dance work.