Pina

2011

Pina

Critics Consensus

Pina is an immersive, gorgeously shot tribute to the people who express life through movement.

95%

TOMATOMETER

Total Count: 103

81%

Audience Score

User Ratings: 8,456
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Movie Info

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. Pina is a film for Pina Bausch by Wim Wenders. He takes the audience on a sensual, visually stunning journey of discovery into a new dimension: straight onto the stage with the legendary Tanztheater Wuppertal Pina Bausch ensemble, he follows the dancers out of the theatre into the city and the surrounding areas of Wuppertal - the place, which for 35 years was the home and centre for Pina Bausch's creativity. -- (C) Official Site

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Critic Reviews for Pina

All Critics (103) | Top Critics (36) | Fresh (98) | Rotten (5)

  • Watching Pina is like being inside one of Bausch's surreal pieces.

    Feb 16, 2012 | Rating: 4/4 | Full Review…
  • A remarkable -- and likely enduring -- tribute to an artist committed to creating dance theater drawn from humanity's deepest physical and emotional reserves.

    Feb 15, 2012 | Rating: 3.5/4 | Full Review…
  • "Pina" isn't just for dance fans or those curious about the latest in 3-D. It's a celebration of life.

    Feb 10, 2012 | Rating: 4/4 | Full Review…
  • A unique and often sublime artistic experience, "Pina" is a 3-D dance film that immerses us in the movement, letting us feel that we could reach out and touch these dancers as they float past us.

    Feb 9, 2012 | Rating: 4/4
  • For anyone with an interest in dance, "Pina" is a must-see. For anyone not interested in contemporary dance, "Pina" is a should-see. It could change your mind.

    Feb 9, 2012 | Rating: 4/5 | Full Review…
  • Pina is a tribute of an artist by an artist, a friend to a friend. But its great genius comes from the mournful, as well as celebratory, reckoning of the performers Bausch pushed, collaborated with and inspired.

    Feb 3, 2012 | Rating: 3.5/4

Audience Reviews for Pina

  • Feb 22, 2012
    Wim Wenders tribute to avant-garde choreographer Pina Baush (who unexpectedly died during filming); it features elaborate 3-D stagings of her abstract dances interspersed with tributes from members of her company. I'm not sure this labor of love will do for the esoteric field of modern dance what BUENA VISTA SOCIAL CLUB did for Cuban music, but it's impossible to come away unimpressed by the grace, dedication and creativity of the dancers.
    Greg S Super Reviewer
  • Feb 20, 2012
    Not a huge fan of modern dance, this is still a beautifully shot and passionate film. More of a meditation on the life of Pina Bausch, Pina really opens up this world of dance to the public and engages with its different locations and props.
    Christopher H Super Reviewer
  • Feb 14, 2012
    Incredible stuff. Scarcely have I witnessed a more fluid, synchronous marriage of film and theater. For though this was a film chronicling the ever-inventive and inspiring Pina Bausch, a legendary German modern dance choreographer, it really was theatrical in many dramatic, stunning, and even absurd ways, from staging a carnal gladiatorial fantasia to evoking Cirque du Soleil in feats of balance and whimsy and sheer artistry. Pina's choreography bottles up the dancers with a kind of finicky anxiety that shoots out in angular directions, punctuating with intense explosions of expression, only to retreat back into the previous restraints. The dance pieces often use abundance, either in performers or in certain props or extension of stage (and said staging is often outdoors, be it against nature or craggy or industrial man-made landscapes) to create many thoughtful and gorgeous juxtapositions. And there's just enough tangible story in each piece to really stir the senses, and a winding theme that fits the film's elegiac energy. And yet, despite such obvious praise, Wim Wenders really makes this film sing (or dance?) with his own artful direction. Involving the audience by incorporating both empty and filled seats in the foreground, and of the silent voiceover testimonials of all the performers, is essential to the viewing experience. The dancer interviews, which I feel is the film's true pièce de résistance, really lures in the viewer with contemplative blurbs from and about each dancer, revealing a glimpse of their humanity (shy, afraid, not crazy enough, etc.) as they reveal the advice and the inspiration of Pina Bausch - who oh by the way had died days before principle photography began. Some criticisms of Pina - the film - stem from not allowing the longer dance pieces play out organically, in that Wenders interjects too often with spliced-in footage from past performances of the same piece, an occasional rumination on art, or gradient editing into different environments between pieces. Which is odd, because I think that approach was paramount to showing the evolution of Bausch's work and the dramatic flow of the entire film itself. Nevertheless, the knowledge that Pina had recently died is important in this film, lending gravity to scenes of merely showing archive-style footage of Pina in front of the performers. And such scenes reinforce a mournful tone throughout that occasionally bursts with celebration. This seems even more the case as we gradually meet each member of the company, and you begin to recognize everybody in the ensemble scenes, and it creates a feeling of connection, even to the creative process and possibly to Pina herself and her vision by proxy. And I can't think of a more successful, honorable tribute than that. Spring, Summer, Autumn, Winter. Full circle.
    Neum D Super Reviewer
  • Jan 18, 2012
    Rewind about ten years to an early scene in "Talk to Her" where a couple of characters are watching a dance piece where dancers pretending to be blind navigate an obstacle course of chairs. At the time, I did not know what to make of this, as there was no context.(On a totally unrelated note, I have no idea what I had for breakfast this morning.) The enlightening documentary "Pina" corrects this misperception as it turns out this was a defining piece by legendary choreographer Pina Bausch called 'Cafe Muller.' That is not the only piece on display, as one is performed before being compared to footage of Bausch directing her troupe in rehearsals. Otherwise, her international troupe of dancers pay tribute to her as they mention that she gave little guidance, allowing the dancers to find themselves in these pieces whose movements are not as fuild as a casual viewer would usually associate with dance. As two of her dancers testify, she was interested in love and obstacles, and I think that it is the point of her work that her characters have to struggle in finding love. In this documentary, these pieces are taken out of the studio and the theatre and moved into the real world where there are even bigger obstacles, highlighting the visual style of the performances, although I have seen behavior like that plenty of times on the New York City Subway.
    Walter M Super Reviewer

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