Brandeis' documentary chronicles producer Miles Copeland's odyssey in forming "The Bellydance Superstars" and taking them on tour to various world locations. Fans of The Police might seriously question Copeland's decision to step a bit outside of his regular range to put together an event showcasing modern bellydancers in America. Indeed, fans of bellydance may wish he hadn't. Not to degrade the dancers at all; some of the finest performers of Egyptian Cabaret style bellydance can be found in this film. No, what is unsettling is how Copeland claims to give bellydancers their due by showing them as hard workers, not sex objects, yet he ends up proving the very myths that surround bellydance, much to the ire of many bellydancers worldwide. One such myth is the notion that all bellydancers must fit a particular body type (5-foot 8, youthful, legs to the neck, and utterly sexual), and Copeland fills his entire cast with skinny showgirls that more closely resemble a Vegas review than a real bellydance troupe. Another myth is that the Egyptian Caberet style is the gold standard, when in fact, myriad styles of bellydance abound. Completely absent from this film are performers of American Tribal Style bellydance, and Copeland gives very little attention to Tribal Fusion despite Rachel Brice's involvement with the BDSS. Copeland doesn't see his narrowness of viewpoint despite a candid earful from world-renowned dancer Suhaila Salimpour. Brandeis' interview footage seems stilted and undeveloped, leaving many questions unanswered. The interviews are poorly constructed, have distractions in the background, poor audio and lighting, and questions do not effectively draw out the talent or back story of the dancers; whatever the camera did catch was pure luck. The editing seems to reveal a lack of commitment to the original goal, or perhaps just a lack of goal. As a concept, the film rates a C+ for "did the work, but sloppy research and lack of development," and as a documentary, it rates a C- from a third-rate film school.