The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Dance, dance, otherwise we are lost.
PINA is a feature-length dance film in 3D with the ensemble of the Tanztheater Wuppertal Pina Bausch, featuring the unique and inspiring art of the great German choreographer, who died in the summer of 2009.
I have mixed feelings about this film. There's some powerful cinematography in the film that complements the intriguing and some times wildly experimental choreography by the legendary Pina Bausch.
But I feel that Wim Wenders' indecisiveness on whether to make this a pure documentation of Bausch's dances, or to makes it a retrospective of her work, ultimately failed the picture. The lack of information given by both the style of dance and Pina herself did the film a huge disservice, as its seemed aimless as a whole.
Although there is plenty of amazing choreography it felt fairly disconnected to the film, as Wenders cut right in the middle of a scene, and cuts back to it a little later. To…
Watching this back on BBC Four I liked it a little more than I did at the cinema, although there are a few scenes where I felt the absence of Wenders's well-thought-through 3D. (Remember when Wenders and Herzog released 3D films within a few months of each other, and everyone thought we were moving towards an amazing new era of auteurist stereoscopery? Godard aside, that really didn't come off)
The main problem I had was the main problem I had at the cinema, which is that Wenders seems almost mistrustful of using documentaries as an informative tool now. That's not fatal - there are plenty of fine documentaries that exist primarily to offer visual fireworks, or mood, or space for…
Una película que constantemente está decidiendo qué película quiere ser: un documento de la obra de Bausch? una remembranza por parte de sus alumnos? enteramente performance? Esa indecisión nos mantiene siempre entretenidos, nunca sabiendo qué sigue.
Solo al final se revela como lo que es, un jovial requiem. Y pues bueno, nos conmovemos todos.
Watching this for the first time was easily one of the most extraordinary experiences I've had with a movie in a long, long time. As far as those go, it's (just about) on par with films like Valerie and Her Week of Wonders, Brazil, and The Cabinet of Dr. Caligari for me - and they all share a common trait, that being that they're all visually spectacular. Anyways, Pina. The project began as a documentary and upon the death of its subject, the exquisite dance choreographer Pina Bausch, and the encouragement of her students for the its director (Wim Wenders) to move forward, ends up as something far more special. If it can be called a documentary, it's one of…
This is a documentary of movement poems, some fragments and some short verses. Almost every minute has a surprise, something unexpected. Shocking violence, powerful settings, a change of cinematography, a puzzling action. There is little to hold the film together, apart from the choreographer, for which this film is a memorial. There is no narrative or common theme. And yet, in a sense, it is about the meaning of dance, the evocative movement, that which cannot be communicated in any other medium.
The music is part of the setting, the emotional resonance of the background, and yet it cannot be separated from the meaning, even as context cannot be separated from the meaning of a sentence. This is a complete…
An elegy for a woman whose work I have had no prior exposure to. Though this documentary via staged performances is at times interestingly composed, it's structure makes it difficult for a neophyte coming to witness Pina's accomplishments as a choreographer to gain a foothold of appreciation within her art form with zero background or context given to the images presented. As the film progressed I found the routines and set pieces to grow in dynamism and thus aesthetic interest but the early going is rough, unwelcoming and does little to bridge any gap viewers with any preconceived bias against modern or interpretative dance might carry with them. I suppose it should not feel the need to defend itself but if you don't think this subject matter appeals to you, this is not the film to win you over.
More like a tribute concert than a true documentary. I appreciated the talent on display - not really sure how much I enjoyed this. Wender's outside scenes were incredible and I can understand why anyone interested in modern dance would like this film. Personally I would have preferred more information on Pina as I felt like an outsider looking in on something I did not understand.
Whatever interests Wim Wenders interests me. After seeing the motherfucker rip on masculinity for three hours at the Alice in the Cites Q&A, I knew that wherever he wanted to go, whatever he wanted to photograph, would be of diverse texture and breadth, even if it's a documentary.
So that's a first concern for a form where arguably its terms are more confined to the sources of the subject, rather than the expanse a fictional story can access; indeed between interiors and exteriors, natural and urban settings Pina keeps the senses satisfied. Sequences of dance performance are cut with interviews, often in silent portraiture set to voice-over, by their performers who recall lines and guidances Pina would evocatively toss at…
Pina is a curious sort of film, less documentary than celebration, of both a life and of art in general, as it shifts through vastly differing modes with ease. Its subject, Pina Bausch, is presented as both a person beloved by her students and as an artistic conduit through which her students create and honor her memory. Wenders’ contribution is to further carry this dynamic mood and let it soar, and he does so with a striking structure and stunning 3D photography.
Throughout Pina, the viewer is given brief sketches of Pina through the words of her dancers, from deeply intimate stories to brief anecdotes, the culmination of which is an outline, an admittedly unfinished portrait. It is up to…
Foi uma experiência diferente pra mim. Eu não gosto de dança (ballets e afins) simplesmente porque eu não consigo entender o que esse tipo de arte quer expressar. Reconheço o esforço, a dedicação, mas pra mim, sempre se resumiu a um movimento suave, outro mais difícil e só. Por isso o começo foi difícil, mas com o tempo de filme passando, aos pouco, o filme foi me cativando e algumas coisas ali começaram a fazer sentido. Isso somado as imagens belíssimas e a história da Pina contada pelos detalhes dados pelos seus dançarinos, tornaram o filme uma experiência diferente e muito gostosa.
What an incredible film! I can't say I know anything about modern dance really, so a lot of it went over my head I'm sure. But the dances were beautiful and wonderfully shot. The director struck a wonderful balance between showing off Pina Bausch's dances as well as brief snippets of biographical detail.
There is so much meaning and depth to some of the dances that go beyond their gorgeous aesthetic. My favorite without a doubt is the one dance (routine? I'm not really confident in dance terminology) where a man and a woman embrace and then a man(Fate perhaps?) controls their movements so that the man holds the woman and she falls. As soon as she falls she embraces…
schöne reminiszenz und ovation für eine inspirierende frau.
of dancing like nobody is watching and art.
All the expression, Pina was amazing, not only she did something for dancers but also for actors ...
The pieces are amazing and so korky! Like Pina! Lol
The last piece is my favorite <3<blockquote>
Dance, dance otherwise we are lost
Really good 3D is really good.
Also: A lot of people are pretty bad at watching movies.
(Dig the Schwebebahn scenes!)
Viewed in 3D at Seattle's SIFF Cinema Uptown Theatre.
Complete list. :-(
UPDATED: May 19, 2016
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