“Pina” – Now in Theatres
I am not going to claim to have been able to understand and appreciate everything that was going on in German director Wim Wenders’ new documentary “Pina,” now playing locally at IFC Center, 323 Sixth Avenue. Perhaps being concerned with “understanding” is not the point of this colorful, vibrant, thrilling and wonderfully confusing film about the late German choreographer, dancer, teacher and director, Pina Bausch, and all in 3-D no less.
Many will groan when I mention “3-D,” a term which has, by now, become a cliché as well as a negative, pop-cultural punch line. In its defense I will point out that “Pina” uses 3-D in a manner that is intelligent, justified and brilliantly artistic. In fact the only other recent 3-D films (of which there have been many) to which “Pina” can be compared, for its innovative use of the format, is Werner Herzog’s documentary “Cave of Forgotten Dreams” and Martin Scorsese’s “Hugo.” Granted the three films, in terms of their respective subject matters and techniques, are wildly different. However it is interesting to note that all three directors, Wenders, Herzog and Scorsese are in their mid to late sixties and have all embraced the format making their first 3-D features. While one could also add Steven Spielberg to the list, “The Adventures of Tin Tin,” while ground breaking in terms of its animation, is not as innovative in its use of 3-D. But back to “Pina.”
As I know next to nothing about dance, or choreographers, the best I could do was watch the highly original dance pieces as presented by the dancers who worked with Pina. Her work, to me, seems to be a cross between ballet and modern dance with interesting innovations thrown in. For example, in “Café Muller” the dancers interact with chairs and tables. In “Rite of Spring” the stage floor is completely covered in earth. The dance pieces have been beautifully staged for film. Many of them take place outdoors, in parks and, in one case, even on a moving tram. They have been gorgeously shot, employing deep focus cinematography, which compliments the 3-D technology.
In addition to performing Pina’s choreography, her dancers are interviewed in a very unique manner. We never see the interviewees speak. We see them, sitting silently, perhaps waiting for Wenders to ask them questions. We hear their comments, recollections and appreciations over shots of them sitting silently, lips not moving. It is very effective and contributes to the film’s ethereal quality. Their remembrances of Pina are enhanced by the dances themselves: “Meeting Pina gave me a vocabulary,” “Life without Pina. I don’t know what it is.” Pina is quoted as having advised, “You just have to get crazier.”
The experience of seeing “Pina” is tantamount to being lost in a dream. As for writing anything more penetrating or critical about dance I am afraid I am at a loss. In my defense though I will simply quote Pina herself, who perhaps put it best: “Dance, dance, otherwise we are lost.”
Pina, Director Win Wenders, 2011, Han Way Films, 106 minutes, PG