One’s appreciation of this regulation cable biodoc hinges on one’s interest in the subject matter, not the medium. Director Steven Cantor begins by establishing a focus of attention — in this case, ballet pin-up boy Sergei Polunin — before hopping a ferry to his childhood home in Ukraine and then proceeding to stuff the 85-minute running time with enough fuzzy VHS remembrances and performance footage to justify a theatrical release. Polunin’s appearance on CCCP1’s low-rent answer to Dancing With the Stars brought a few snide chuckles, while the viral video sensation that closes the show — David LaChapelle’s Take Me To the Church ­— is strictly a matter of shoot-now-figure-it-out-later. The proceedings occasionally come to life when Cantor addresses the relationship between Polunin and the parents who sacrificed everything (including their marriage) to accommodate his career. Does Polunin ever take time out for a lover? Is the temperamental toe-dancer still performing? Only a sequel can tell. (2016) — Scott Marks