Liam:

Keeping the master subtle in his movements is great, but can be really hard to nail the acting as a result. If you watched this without sound, what would you take from it? What is their relationship? What is the master feeling, or talking about?
Even though the student is facing away from the camera, don't forget to include him in the movements. What is he feeling? How is he reacting to the master? Even when see from behind and standing still, people have even a *little* bit of motion.

The key movement in the whole clip is when he strikes a pose at the end. Don't be afraid to experiment with camera angles to show this off, as right now he vanishes of screen for a moment right when he's at his most interesting!

Timothy Muller:

Hello there. My one piece of advice I'd like to give you is that your timing in this work appears sluggish. The teacher in shot 1 especially appears to be moving underwater so I recommend some tightening before and after the transitions.
Overall, I enjoyed watching this. Keep up the good work.

Lewis van der Werf:

Very floaty and never a still moment. Try to find a good pose in stepped mode, then carefully add breakdowns, anticipations and eases when you put in splined.