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Wim Wenders’s “Pina”

by AirTalk

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Guenter Rohrbach (L) and Wim Wenders (R) after receiving the Bavarian Movie Award during the Bavarian Movie Awards 2012 (Bayerischer Filmpreis) at Prinzregententheater on January 20, 2012 in Munich, Germany. Hannes Magerstaedt/Getty Images

German director Wim Wenders and choreographer Pina Bausch talked often of making a dance film together. Such a movie would have been the creative culmination of their friendship, which lasted over twenty years. Tragically, however, this was not to be, as Bausch died suddenly in 2009, while preparations for shooting said film were still being made. However, Wenders realized that even though he couldn’t make a film with Bausch, he could make one for her.

In “Pina,” Wenders filmed members of Bausch’s Tanztheater Wuppertal performing choreographies he and Bausch chose together. This footage was supplemented with images and audio files of her life. Furthermore, capitalizing on advances in digital 3D technology, Wenders was able to capture the elastic nature of Bausch’s work, as well as its dramatic range of emotional expression.


What was Wenders trying to convey specifically through the choreographies he chose? What is so fascinating about Bausch’s work? How does the use of 3D enhance the film? Will this lead to a trend in moviemaking?


Wim Wenders, director of “Pina,” also an author, photographer, playwright and producer

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