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100The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company."
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100Most documentaries put us inside people's heads. The dazzling, experimental Pina puts us inside people's feet.
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100The real 3-D experience of the season is Pina, Wim Wenders' shockingly beautiful and moving tribute to the late German choreographer Pina Bausch.
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100In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making.
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100The movie he (Wenders) went on to make with her Tanztheater Wuppertal is more than an elegy; his meticulous use of 3D endows the performances with a corporeality and intimacy hitherto unseen in a dance film.
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100You don't have to know the first thing about modern dance to be transported to an alternate state of consciousness by Pina, which is utterly free of Wenders' cloying sentimentality (perhaps because it's an elegy for a dead friend) and might be the first of his films I've loved all the way through since his 1987 masterpiece, "Wings of Desire."
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100The result, in Pina, is...wow.
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90Whether you're familiar with Pina Bausch's work or not, the new film Pina is a knockout.
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90Offering further proof that the latest 3D technology is good for a lot more than just lunging knives and fantastical storylines, Wim Wenders' dance docu Pina reps multidimensional entertainment that will send culture vultures swooning.
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90What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it.
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89Excepting the occasional shot that forces the eye on a particular dancer, Wenders largely films the action in a way that re-creates the effect of attending a performance in a proscenium theatre – only without having to scrabble for the best seat in the house. No matter where you are, you're already in it.
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Feb 2, 201288The result is a panorama of emotion, in which one dancer exhibits pure joy and another severe aching. As Bausch notes early in the film, words alone cannot describe something, nor can dance. One medium has to pick up where the last has left off. The disembodied words seem to get to the heart of that idea.
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88I watched the film in a sort of reverie. The dancers seemed particularly absorbed. They had performed these dances many times before, but always with Pina Bausch present. Now they were on their own, in homage.
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83Pina, so exquisitely made and filled with such powerful beauty, suggests thrilling new possibilities for the marriage of movies and dance.
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83You may not feel like dancing after watching Pina – unless you have a thing for earth in your shoes – but you'll certainly know you've seen something.
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83Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.