Pina is a film that makes you glad to share in the experience of being human.
It is a film like no other, because it is all dance.
I’m of the opinion that dance and music are the fundamental art forms of humankind. All other arts are at their best when emulating the movements of those primordial two. Every artistic medium works in metaphor. A metaphor must always refer to something else beyond itself. Only in dance and music do metaphorical movements embody their meaning in and of themselves.
Pina is a film composed almost entirely of dance and music.
This film achieves immense beauty, and though some people may want to argue with me about the claim made above, I will smile quietly and retreat into the darkness to watch Pina once again.
Pina is a remembrance of the work of Pina Bausch, one of the most prolific choreographers of the past century. Before her death in 2009, Bausch was working with the Wim Wenders (Director of Wings of Desire) to adapt her dances to the cinema screen. After her sudden and unexpected death, Wenders and Bausch’s dance troupe worked together to complete the film.
In the director’s commentary, Wenders talks at length about the difficulties he had capturing these dances with his camera. Dance is fundamentally a living art form. Once immortalized on film, it looses it’s essence.
But I am so glad that Bausch was able to see that her dances should be captured on camera for the sake of posterity, and that Wenders was up to the challenge.
I can’t help but wonder if Pina herself had to be released from this world before her work could be captured in time and preserved. The dances in the film regain their living vitality when we watch them knowing that Pina’s powerful vision is being remembered for us on the silver screen.