Hani Dance’s sensually abstract piece is inspired by the Romulus and Remus foundation myth of Rome. But don’t come to Inlet looking for narrative; it’s a melting, misty dream of arresting images and subtle textures, driven by Saeed Hani’s powerful, expressive style of choreography. This makes it unnervingly thrilling even in its most opaque moments. 

Three naked dancers (Michele Scappa, Francesco Ferrari and Ana F Melero) are part-hidden behind square blocks, topped with heavy metal balls. They use their bodies to create curious shapes: bulbous eyes from upside down buttocks, antennae feet. They limpet on top of each other, making a multi-clawed creature. As they begin to stretch upright, their gaits become more mammalian. Soon they are hefting the concrete blocks around, as if building a civilisation from scratch.

At one point, one dancer lifts Melero horizontally, and startlingly, in Marc Thein’s lighting, she transforms into a classical statue. There are brooding passages of knotted bodies, triskelion arms, crushing fights, and a hallucinogenic nightmare backed by a glowing red column, as Melero writhes feral as a wolf mother. Inlet takes risks and doesn’t always reveal its hand, but it keeps moving forward, towards something, even if it isn’t a reflection of ourselves we want to see.

Inlet, Assembly Dance Base, until 23 August, 5.30pm; main picture: Blackgate Media.