Pina (film)
| Movie | |
|---|---|
| Original title | Pina |
 | |
| Country of production |
Germany France United Kingdom |
| original language | German , French , English , Spanish , Croatian , Italian , Portuguese , Russian , Korean |
| Publishing year | 2011 |
| length | 106 minutes |
| Age rating | FSK 0 |
| Rod | |
| Director | Wim Wenders |
| script | Wim Wenders |
| production |
Gian-Piero Ringel , Wim Wenders |
| music | Thom Hanreich |
| camera |
Hélène Louvart , Jörg Widmer |
| cut | Toni Froschhammer |
| occupation | |
|
Ensemble of the dance theater Wuppertal Pina Bausch | |
Pina is a dance film - documentation in 3D by director Wim Wenders with the ensemble of the Tanztheater Wuppertal Pina Bausch , whose choreographer Pina Bausch , he is dedicated.
content
The focus of the film are excerpts from Pina Bausch's dance theater pieces Le sacre du printemps , Café Müller , a café in Solingen, near which Bausch grew up, Kontakthof and Vollmond . These are supplemented by interview statements and other dance choreographies that were filmed at locations in Wuppertal and the surrounding area.
The dancers of the Tanztheater Wuppertal move in an environment that is unusual for dance. The stage is covered with an ankle-deep layer of wet peat . This dance floor does not allow light-footed movements. This is also not intended, since in the excerpt from Le Sacre du Printemps a chosen virgin is to be sacrificed to the god of spring. The film presents the work of Pina Bausch in four selected excerpts.
The excerpt from Café Müller following Le Sacre du Printemps is about searching. It describes a place where Pina Bausch often stayed in her childhood to buy sweets. A slim woman in a white dress enters the café in a simple set consisting of wooden café tables and chairs and doors on the side. Two more women appear, one of whom is apparently blind. The furniture standing in the way makes her hesitate. Two men rushing to try to clear the obstacles out of the way. The blind woman and one of the men finally stand shoulder to shoulder. The second puts the woman's arms around the first, but she slips away. This is repeated in an endless loop.
The next section, Kontakthof, is a cross-generational piece. He describes the idyll in a dance school at the beginning of the 20th century. The play has been performed several times with actors of different ages. In the film, these different performances are merged into one scene that illustrates the different qualities of movement of the dancers. In the full moon , the actors play on a stage flooded with water, which apart from a boulder and a few chairs is kept very minimalist.
At the end of the film, like a procession, the actors accompany the viewer on a narrow path on the Haniel dump in Bottrop to an open end. Only a few scenes by Pina Bausch herself can be seen in the film.
background
- Director Wim Wenders originally planned to make a 3D film with and about Pina Bausch . The start of shooting was planned for September 2009 and the first test shots began. After Bausch died unexpectedly on June 30, 2009, Wenders decided to shoot a film with her ensemble and dedicate the film to her.
- The film premiered on February 13, 2011 out of competition as part of the 2011 Berlinale competition . The cinema release in Germany was on February 24, 2011.
Reviews
“It's never just about space, it's about how movement relates to space. Usually language is still involved - dance translates that into movement. Sometimes. Because of course the interviews with the dancers are connecting pieces in a continuous narrative. But most of all they are present when they dance. You normally never get that close to the dancers - and maybe that's why you are never so aware from a distance what it means that Bausch's dance theater has moved so far away from classical ballet, his drill and his figures that affect the joints, Demand something from the whole body that it is not prepared to give for long. Bausch's dancers, and especially the dancers, were allowed to age; they can show what expression they have gained over time. And that's a pretty unusual sight when the pictures come very close to their faces. The name of these dancers does not appear in the film. He perceives them as an ensemble, as parts of a network. What counts are the relationships among each other, between dancer and choreographer, choreography and space. "
“Wenders' film is fulfilled in every scene with its mission to set a monument to this great choreographer. When the dancers remember them, the film often speaks of their gaze, in which the dancers felt they were in good hands, of their method of questioning and of keeping meanings open. Director Wim Wenders wanted to adopt this method of asking for his film as well. But everything is very closely related, everything revolves around memory. And that's oppressive. [...] How the ensemble of the Wuppertal dance theater continues to dance without her in order to keep her spirit and her breath alive in her pieces, "Pina" conveys this convincingly and touchingly. But there is also an inherent approach to the transfiguration and adoration of Pina Bausch, which does not do justice to the unpretentiousness of her art. "
"Wenders brings scenes from the most famous Bausch pieces to the screen, some new, some decades old, like the famous" Café Müller ". And maybe 3D technology has never been used as effectively as it is here. It's not just filmed theater, here the stage has space and depth, and the dancers are closer to you than they could be in any theater. "
“The fact that Wim Wenders' documentary is called" Pina ", but the Wuppertal dance theater director rarely shows up, may bother you at first. […] But it is precisely in this way that Wenders succeeded in creating an astonishing, haunting portrait of the great choreographer who died on June 30, 2009. [… ..] Instead of seeing the person themselves, you can recognize the choreographer through their works and through what the dancers, some of whom have worked with her for over thirty years, tell of her - only in short statements, otherwise dancing. [...] The result is a declaration of love to Pina Bausch, funny, crazy, sometimes desperate, with many incredibly beautiful dances in which the choreographer actually seems to become more and more present in the course of the film. [...] "Pina" also demonstrates that with 3D stage performances, be it dance, drama or opera, you can film in a revolutionary new way. "
“Wim Wenders' homage to Pina Bausch has become a great work of mourning, an homage to life. The 3-D technology delivers pictures as you have never seen them before, neither in the cinema nor on the stage. [...] The 3-D pictures in the open air, like from another planet, are wonderful. The procession of the ensemble on the edge of a crater, as tangible and incomprehensible as the fall of little Alice through the rabbit hole. The competition between dance and 3-D philosophy remains undecided until the end. It's just a shame that you get the impression that the cinematic experiment wants to triumph over its subject here, which couldn't be more sensual and lively. Progress is always relative, you have to measure it against something. Is the cinema that we know two-dimensional? "
“Pina” is by no means indiscreet, not biographical, nor does it show how the choreographer worked in Wuppertal year after year. “Pina” is a work of admiration for her art. […] So instead of a film with Pina Bausch, this has now become a posthumous homage, a memory of visual experiences, a declaration of love, almost a canonization, which is evidenced in the wonders of this dance. The choreographer only appears in short, mostly very old film excerpts - but for this very reason she is all the more larger-than-life, more outstanding: In her works, but also in the dancers' often downright awe-inspiring statements, sometimes consisting of just one sentence. "
Awards
Pina won the German Film Award 2011 in the category of best full-length documentary film and was nominated for best director . The film won the German Documentary Film Prize 2011 and was awarded the “ Prix ARTE ”, the European Documentary Film Prize , in the same year . Pina was nominated by the foreign representation of the German film industry for the 2012 Oscars in the foreign language film category and received a nomination in the documentary film category .
literature
- Dorothee Krings: Conquerors of the Third Dimension. Wim Wenders discovered 3D for the documentary film and created a masterpiece with the dance film "Pina". In: Rheinische Post , 11./12. October 2014, p. E2. On-line
Web links
- Official page for the film ( Memento from April 23, 2018 in the Internet Archive )
- Pina in the Internet Movie Database (English)
- Pina at filmportal.de
Individual evidence
- ↑ Release certificate for Pina . Voluntary self-regulation of the film industry , August 2011 (PDF; test number: 126 303 V).
- ↑ Famous dancer and choreographer: Pina Bausch died on June 30, 2009
- ↑ Wim Wenders on dance on the screen: "Converting grief into energy" Interview from February 10, 2011
- ↑ https://www.berlinale.de/external/programme/archive/pdf/20115613.pdf
- ^ Film review Die Architektur der Seele from February 14, 2011
- ^ Film review Mourning and Beauty from February 19, 2011
- ↑ Der Spiegel Berlinale Blog Part 6: Sunday, February 13th, day 4
- ↑ Film review Dance your gaze! dated February 14, 2011
- ^ Film review dancers in the suspension railway from February 14, 2011
- ↑ Film review carried away on February 13, 2011
- ^ "Pina" receives the German Documentary Film Award ( Memento from May 23, 2014 in the Internet Archive ) Press release from May 26, 2011
- ↑ Wenders' Pina is supposed to win an Oscar for Germany on September 9, 2011
- ^ AMPAS: Nominees for the 84th Academy Awards