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||IMDB Rating: 7.7/10 from 10,629 votes
||Release: 7 July 2011 (Netherlands) /
||Director: Wim Wenders,
||Stars: Ales Cucek, Andrey Berezin, Bénédicte Billet, Clementine Deluy, Damiano Ottavio Bigi, Jorge Puerta, Josephine Ann Endicott, Lutz Förster, Malou Airaudo, Mechthild Großmann, Pablo Aran Gimeno, Pina Bausch, Rainer Behr, Regina Advento, Ruth Amarante
||Synopsis: In modern dance since the 1970s, few choreographers have had more influence in the medium than the late Pina Bausch. This film explores the life and work of this artist of movement while we see her company perform her most notable creations where basic things like water, dirt and even gravity take on otherworldly qualities in their dancing. Written by Kenneth Chisholm (firstname.lastname@example.org)
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I had a lot of preconceived ideas about this documentary before seeing
it. They all came flat whenever I entered a Parisian movie house on the
Champs-Élysées. That is to say, a few hours ago the 6 of April being
the French release date of Pina.
I was initially skeptical about the 3-D. The wave of Hollywood-like and
-made items following Avatar has not convinced me. The new technique
has remained a mere gimmick, funny and compelling at first sight, but
eventually tedious. In this rather commercial context, Wim Wenders
seems to be first « classical filmmaker » to use it for artistic
purposes, that is as an adequate medium to render the complexity of
Pina Bausch's choreography. Also, the critical reception during the
Berlinale turned out rather positively. Nevertheless several reviews
insisted upon the unrealistic effects of 3-D : the dancers' body would
seem strangely « clean », almost virtual. I tended to agree with these
considerations. I quickly understood my mistake. Wenders never uses 3-D
for the sake of 3-D. Most of the time the viewer forgets its existence.
It only appears from time to time : a sudden big shot, leaves floating
in the air, drops of water falling on human skin, curtains dividing the
Theses are all magical moments. They reveal a new way of seeing
reality and contain the premise of a might-able aesthetic revolution.
Till the 1950's people used to dream in black-white. Perhaps, soon, I
will be dreaming in 3-D.
On the other hand, I expected much of the Wender-Bausch dialog. Of
course, with Pina dying on the eve of filming, the dialog could only
have been posthumous. Well, the result is not so good. The film
composes a beautiful, moving elegy to a great artist, but nothing more.
After a first, innovating and convincing half-hour, Wenders' narration
becomes repetitive and monotonous. It's mostly a serial of individual
focus on dancers who all equally says how fine Pina was and sorry they
are about her death. The film does not go beyond an extensive, overlong
tribute. Preceding Wender's documentaries really showed the in and out
of things : Tokyo-Ga revealed the paradoxical legacy of Ozu, and the
Buena Vista Social Club the spontaneous life of the homonymous music
band. Here, there is no paradox and not much spontaneity. Strangely
enough a 3-D film only reveals a one-dimensional image of Pina Bausch :
an unaccessible goddess, far away from the livings, and far away from
the living person she was.
My final statement : an overlong documentary, but, probably, the
cinematic experiment of the year. It's not a must-like, but a definite
must-see. Eight out of ten.
Tags for Pina Full Movie
, Andrey Berezin
, Bénédicte Billet
, Clementine Deluy
, Damiano Ottavio Bigi
, Jorge Puerta
, Josephine Ann Endicott
, Lutz Förster
, Malou Airaudo
, Mechthild Großmann
, Pablo Aran Gimeno
, Pina Bausch
, Rainer Behr
, Regina Advento
, Ruth Amarante
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