Pina

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 space… 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.

Let me start by saying, that this movie has no story. And it is not a documentary, as I would define it. So what is this movie? I have no idea! I am not into modern dance, but I was impressed and exited at the same time while watching the actors dance (or act? or create? or??).

There are four longer dance parts and plenty of small pieces, small interviews and only a tiny part with Pina Bausch. The locations for the scenes where great. The 3d effect was great, the stage seems real, and the dancers were just amazing. I felt sorry as I discovered how limited language is. This dance told more about the emotions than any words could.

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.

Whether Wender's work is considered a film, eulogy or a documentary, I can say that I have never felt so much for a production of moving pictures before that I would feel the necessity to express my thoughts through written words.

I have a great passion for dance and used to practice it a lot more a few years ago. Hence, this film was a must-see for me whatever whoever says. The downside with dance on film is the failure of the screen to convey depth, and I didn't find the 3D effects particularly impressing here, I must admit. But then again, without it, I am sure it would be hard not to get dull watching 100 minutes of flat images, sometimes randomly and unexpectedly cut of the context.

Because there is no storyline in the film. Not very much of replicas either to explain in clear words why or if the different pieces are linked together, and definitely nothing to tell about Pina Bausch's private life. But that is also what makes this film so clean and consistent; dance says it all.

If Pina lived today, her presence in the film would certainly be more evident to us. The film would let us follow her and her dance company on performances with more straight forward dialogues. Instead, the spirit of Pina is expressed through dance here. Dance is the way she would use to communicate her messages to the world, so why would words then be necessary? Even less, why would personal details of her life matter in this film when what we will remember of her, as with other known names throughout the history, will be for their creations, inspirations and contributions to our world?

Pina's art is shown piece by piece in the film featuring choreographies and performing arts carried out by her closest dancers in different milieux. Both outdoors in the open landscape and modern cityscape, as well as indoors on a stage. It expresses diversity and unity at the same time, gives life to poetry and most remarkably, making music visible in a way that I have not seen in a film before. It describes relationships between men and women, young and old, human and nature, along with senses of loneliness, yearning, passion, pain and joy mixed with a dose of subtle humour.

And they are all performed by a group of highly skillful professionals of different ages, nationalities and languages, whom sometimes, through open monologues, give us an insight on Pina's character. Not only do they reach out to touch by movements, but also through empathy and facial expressions of compassion, making them very credible actors/actresses.

To sum up: If you can deal with lack of dialogues without getting bored, make sure then to have some understanding about dance, or a general interest in art and scenography to truly appreciate this film. It is a definition of beauty and a way to remember Pina Bausch.