Pina (2011)

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I was slightly disappointed in this documentary about the choreographer. After seeing all of the beautiful shots in the trailer I thought surely this would be a moving and transformative piece. Sadly, beyond the beautiful choreography the film doesn't have much to say.

Back in the 90’s, I was a huge fan of Wim Wenders, especially ‘Paris Texas’. Unfortunately, his last movies were far from being impressive but I keep checking his new work once in a while. However, I must admit that this documentary was quite a nice surprise. Even though I had never heard of Pina Bausch before and even though my knowledge about modern ballet is close to zero, I was certainly... read more

I was slightly disappointed in this documentary about the choreographer. After seeing all of the beautiful shots in the trailer I thought surely this would be a moving and transformative piece. Sadly, beyond the beautiful choreography the film doesn't have much to say.

Description: "Pina is not a biography of choreographer, Pina Bausch, but Wim Wenders’ homage to her work by and a hymn to art. In this subtle and delicate film, the German director stands up for the most fragile values – feelings, beauty, and respect for fellow human beings. Wenders managed to record Bausch’s most important performances, The Rite of Spring, Vollmond, and Café Müller as well choreography performed on the streets of Wuppertal, Germany. The entire narration blooms through these performances, and, though the film has virtually no dialogue, the dancers’ beautifully use their bodies as means of expression. Pina ta "Pina is not a biography of choreographer, Pina Bausch, but Wim Wenders’ homage to her work by and a hymn to art. In this subtle and delicate film, the German director stands up for the most fragile values – feelings, beauty, and respect for fellow human beings.
Wenders managed to record Bausch’s most important performances, The Rite of Spring, Vollmond, and Café Müller as well choreography performed on the streets of Wuppertal, Germany. The entire narration blooms through these performances, and, though the film has virtually no dialogue, the dancers’ beautifully use their bodies as means of expression.
Pina taught me that it is not necessary to flood the audience with streams of words, said Wenders. She opened my eyes to all that you can say with gestures or by creating an appropriate space.
He delayed production of Pina for over 20 years to faithfully show the dancers’ space on screen. He waited until cameras enabled him to reconstruct the world created by Bausch on stage in cinematic form. Now, resorting to 3D technology, the director of The Sky over Berlin, blazes a new cinematic path. He proves the third dimension is so much more than a gimmick, once again enabling the 10th muse to be at the service of great art."

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