“Belle Redux,” choreographed by Ballet Austin artistic director Stephen Mills and premiered by the company in 2015, is a dark reboot of the 18th-century French fairytale “La Belle et la Bête” (Beauty and the Beast). The two-act ballet was commissioned by the 3M corporation as part of a program to fund innovation in the arts (as part of his research, Mills met with 3M researchers and engineers), so it’s no surprise that it is unlike Mills’s other story ballets. Those ballets, including “Taming of the Shrew” (2004), “Hamlet” (2000), and “Cinderella” (1997), are updated and streamlined versions of the classics, but they retain the “package” of a continuous narrative, with nuances and a general reverence to plot. But in Mills’s “Belle,” the tale is stripped to its most essential elements, with the narrative largely focused on reinforcing the juxtaposition of good and evil. The arc has an unexpected shape, and the momentum is largely delegated to the production’s sophisticated set, video, and costume design.