‘Pina’: Wim Wender’s flawed, beautiful 3D dance documentary [MOVIE REVIEW]
Ditta Miranda Jasjfi in “Vollmond” in Wim Wenders’ “Pina.” Photo by Donata Wenders. “Pina,” the new documentary about the remarkable modern dance deity Pina Bausch and her Tanztheater Wuppertal by acclaimed filmmaker Wim Wenders, is a highly ambitious film. In the works, or at least in Wenders’ imagination, for a very long time, it became almost a running joke between Bausch and Wenders as to the timeframe. The delay? Film technology, or at least the kind of technology that Wenders felt was necessary to make the kind of dance film he imagined. With the advent and advancement of 3D, Wenders finally felt he could proceed. Ironically, just as principal photography was about to begin, Bausch died, just short of her 69th birthday. So what was to be a collaboration of two artists became, instead, something of an homage to her life’s work as seen through the eyes of her dancers and illustrated by several of her more famous works. The use of 3D technology does, without a doubt, add a perspective to the work, although remarkably, it is primarily when the dancers are taken out of the studio and juxtaposed against nature that the filming brings more life than a traditional camera would…
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