Pina Screen 4 articles



Pina Poster
  • Wenders' use of 3D is nothing short of revelatory, but it is Pina Bausch's choreography that truly captures the viewer. The honesty and physicality of bodily movement in these performances drives a visceral emotional response from the viewer, particularly in the first performance, Le Sacre du printemps, in which the intense movements of the dancers are stamped into a layer of brown earth (and kudos to whomever mic-ed the troupe, as every thump, huff, and slap is reproduced incredibly).

  • Pina is an aesthetic marvel. Wenders, like Martin Scorsese in The Last Waltzor Jonathan Demme in Stop Making Sense, exhibits an unshowy formal mastery; his camera is, simply, always in the right place. Wenders teases out the cinematic possibilities in dancing without diluting the art of either medium.

  • Pina (2011) is a labour of love, a celebration of Bausch’s work and a testament to her impact not only on the world of dance but on the lives of individuals.

  • Even without the added element of 3D, Wenders gives the dance depth by allowing us to see the entirety of the stage. It provides a completely different experience than seeing the dance performed live, and allows us to enjoy the theatricality of her work in way that does justice to the fine detail of her choreography.

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