Pina

Pina is being classed as a musical, but it's more of a documentary. More than this, it's a cinematic eulogy to Pina Bausch, one of the world's most influential dancers.

The filmic concept is simple. Footage consisting mainly of contemporary performances of Pina's ballets performed by her dancers is interposed with archive footage of the legendary figure herself. Each dancer, at their turn, looks squarely at the camera and offers their own recollection of how Pina inspired them. This is followed by a demonstration of their learning.

It seems that filming dance is making a comeback in cinema. But after seeing 'Black Swan' and now this, I wonder if dance loses something on the big screen? Maybe the realism or the urgency. Definitely something. It's the same with music concerts. You have to be there.

I'm of the opinion that you have to be an artist to understand other artists. They're a different breed. Where else, for instance, would the remark 'you just have to get crazier' be appropriate if not in dance? Some scenes are bizarre. No they're not. They're mad. Mad like Pina told her students to be. There are some arresting images, which to tease us, Wenders doesn't linger on.

The predictable comment being made of Wenders' film is that it is surreal. I don't believe it is truly surreal. Yes, some of the visuals are unusual – like the Australian dancer who dances with abandon on a street corner with cars driving past and a train travelling upside down. Or the act involving two men spitting water at each other. Or better still the act with a man pulling his trousers up and down. But I swear the effects seem remarkably natural.

I was agape throughout the scene where one dancer in a serene industrial site shows a couple of cuts of meat to us and shouts 'veal!' before dancing on her tiptoes for what seemed like forever. Where was the beauty? I wondered after. I can't explain it. It is just there.

There's nothing snobbish about this film. There's not much that is esoteric either. The music is eclectic and the nationalities of the dancers are diverse. Pina united people. This film isn't exclusively for dance lovers; it's for admirers of culture.

Although I would find a second viewing of Pina to be quite taxing, I have no trouble in recommending it to anyone. It's unlike anything I've seen. It expresses beauty in a way I did not think plausible.

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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.

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.

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.

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.