Pina

I saw this film first in a 2D version and loved it - hence the high score. I saw it a week later in 3D because I thought I ought to see what all the fuss was about. I was hugely disappointed. The 3D detracted rather than added to the experience. Perhaps the technology isn't quite good enough yet or this just wasn't the type of film that would benefit from the 3D effects. I found it a distraction from the beauty of the dance. We all know dance happens on a stage in three dimensions and our brains compensate for this when we see a film. We don't need to have the dancers coming at us out of the screen. If you like modern dance you'll see this film and enjoy it. If you don't know whether or not you like it it might convert you, but definitely seek out a 2D version.

To put this review in context, I went to see this film with no previous interest in contemporary dance. I have always put it into that category of 'things I just don't understand'. I understand it's a way of communication, but it's one that has never communicated to me. So my thoughts on this film probably won't have any interest to you if you are already a dance fan or a dancer or a fan of Pina Bausch in particular. But if, like me, you have heard that this is a visual feast of a film, or just that it is a Wim Wenders documentary, and are wondering whether to go see it for those reasons, this might help you decide.

I was a reluctant viewer because it was clear from the beginning that I still didn't 'get' it - what did it all mean? But visually, physically, this film ended up astounding me. It has stuck with me such that I can't stop thinking about it.

As a documentary, it doesn't do much to reveal its subject. It doesn't say much about how this woman thought, how she felt, her journey and what influenced it, what tortured her, what she was in denial about and how she related to the wider society. These are the revelations I expect in a 'great' documentary film. Films such as 'Man on Wire', 'Grizzly Man' or 'When We Were Kings'. Maybe those things are communicated though the dance itself. I don't know. Almost the whole film is dancing, interspersed with very short recollections from individual dancers. What these do get across are that Pina Bausch had a way of communicating with people and a depth of feeling that is unusual and wonderful. Those who worked with her (at least those that were interviewed) have the greatest love and admiration for her and what she was able to bring out of them. I ended up with a great feeling of admiration for her myself. Perhaps that was the point of the documentary.

But for me, it was the dancing and the way it was filmed that was astounding. It comes across with such intensity, such belief and such love, that I almost became a fan of contemporary dance. The sheer physicality. The bodies and what people could do with them. The beauty of movement. It is simply a joy to watch.

The quality of the visuals is startling. I saw it at a local arts centre which has a very good screen but I've never seen anything as sharp and as detailed as this. And the colours seemed more vivid than is usual. It was like discovering a new form of super high definition film. I understand it was filmed in 3D although I saw the 2D version. Still, it was amazing to watch. The way it is filmed also seems to work very well. It seems pretty straightforward. Most of the dance sequences are filmed quite simply on stage, but the framing seems to bring out the subjects well, even in 2D. Wenders has also filmed individual dancers or pairs of dancers in various outdoor locations - a city street, a road intersection, a train, an open cast mine. These little pieces are so beautiful and so unexpected. There is even one that is intentionally funny, where a girl gets on a train and pretends to be a robot monster. It's hilarious! So, for me a wonderful surprise. I still didn't end up understanding much of what Pina Bausch was trying to communicate but I enjoyed watching her try.

Go see it.

I have finally seen a movie which gives me the instinct that this is why this whole film-thing was invented in the first place.

Quick notes: -Music choices fine to excellent, no problem there. -3D absolutely effective and relevant.

I give this a 10 but was brooding to deduct a point for the perhaps slightly out-of-balance weight to...the brooding self-seriousness (humour and fun also abound).

But, no, I'm just being poopy, it really does deserve the full 10.

Before seeing it, I was fortunate to hear an hour-long interview on the CBC Ideas radio program with Wim Wenders. That filled in the blanks of the back story which is not shown in the film itself, so that was very helpful.

Pina, wherever you are, you really did teach me a huge thing or two: Thank You !!

Wim Wenders' multiple-award-winning documentary was nominated for an Oscar and a BAFTA. It is a tribute to the late German choreographer, Pina Bausch, as her dancers perform her most famous creations.

I am not familiar with modern dance, so why not watch one of the best at work. I have resolved to broaden my artistic experiences this year, and I could not have picked something more enjoyable with which to start.

Wenders (Buena Vista Social Club, Paris Texas), who I really enjoy as a director, has produced a beautiful tribute. I understand it is also in 3D, but I have to settle for the 2D version. I probably didn't miss anything, but who knows.

The film has very little in the way of dialog; an occasional reflection by her dancers, and focuses on performances of her most famous pieces. They were strange to someone not familiar with modern dance, but they were also innovative and beautiful.

I enjoyed the experience.

Pina makes me wish I knew more about dance, though I suspect not all dance and dancers are so accessible or emotionally charged, by choice. At moments I was moved nearly to tears, I wanted to answer the question Pina reportedly put often to her dancers, "what do you long for," with the answer "beauty—and this could serve for now." I saw this tonight at Vancouver International Film Festival in 3D on the strength of its description and Wenders being the director and I'm very glad I did. One of the hallmarks of strong cinema, for me, is an altered perception of the world when I leave the film, which sometimes lasts for a considerable time: the vision of the film awakening me to what is around me. I found tonight not only a visual but a kinaesthetic carryover as I walked to the car, drove my friend to the subway, and then drove home through streets light in traffic. Though normally I don't care for cars or driving, in the wake of the dance spirit invoked in this film, I revelled in freedom of movement—in movement itself—at first hand in my own body and at a remove, in the things around me. This is good stuff.

I will think about scenes such as the woman straining at the end of a rope, about the driven and frenetic movements as well as the lyrical moments and the tributes to Pina, for a while, I think.