Figuremajeure of artisanal and experimental animated cinema, Norman McLaren, through learning multiple animation techniques (animated design, stop motion, pixillation, painted or scraped film, multiple exhibitions, etc.) has continuously studied the movement. While the filmmaker has, on the one hand, made a number of reconciliations between the figure of the moderator and that of the danseur, and, on the other hand, delivered a work that dates back in the history of the dance film (the famous Pas of two, 1968), it is a less apparent question about the links between dance and cinema that the intervention wishes to focus on. By commenting on a series of films designed between 1935 and 1972, it will be necessary to understand how the very conception of McLaren’s gesture fits, from his premisses, with a logic of a choregraphic invention.