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Wim Wenders Tyskland, 2011
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.
May 16, 2015
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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.
October 06, 2014
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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.
January 21, 2013
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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).
November 30, 2012
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The cumulative effect is exhilarating and also a bit frustrating, since so many dances are included and woven together the audience does not have the chance to experience any single work in its entirety.
December 22, 2011
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Of all four films, Wenders’s Pina is most revelatory in its use of 3-D. Challenged to do justice to the late Pina Bausch’s dance-theater choreography—to make a record of her intrinsically transient work and have it make sense as cinema—Wenders has created a meditation on perception and sensation, reconsidering both physical and virtual/cinematic spaces by constantly reconfiguring our perspective on them.
December 21, 2011
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Shooting in 3-D—one of the rare examples of the format greatly enhancing the experience—Wenders captures multiple planes of action with a depth of field and perspective that isn’t possible in two dimensions.
December 20, 2011
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An excellent film insofar as Bausch is an excellent artist. Thanks to Wenders, some of Bausch’s dances are preserved on film, in a sensitive, intelligent, occasionally witty, library-quality recording. But its cinematic added value is slight. In effect, “Pina” is only a moderate improvement on standard-issue television recordings of dance performances.
January 01, 2010
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