What a waste of my time!!!

What a beautiful movie!

disgusting, overrated, pointless

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

A beautiful tribute to Pina Bausch, a German dancer choreographer who pioneered the modern dance genre. The film consists of Pina's troupe of dancers performing several of her dances on stage and in real world settings. The dance numbers are segued with close-ups of each dancer and we hear their voices dubbed in telling stories of Pina and how she inspired and shaped them.

Those expecting a film similar to Step Up 3D will get something quite different.Directed by Wim Wenders comes Pina, a dance documentary celebrating the life of late choreographer Pina Bausch.Featuring Bausch's most noted dance pieces in the Tanztheater (dance theatre) style, the film consists of four pieces titled Le sacre du printemps (The Rite of Spring), Cafe Mueller (a cafe in the German town Solingen, where Bausch grew up) ,Kontaktof and Vollmond. Along with these pieces, are short snippets of interviews with her dancers and further dance routines shot around Wuppertal, Germany.Wenders was originally set to make a documentary on the German choreographer. However, filming was cut short due to her unexpected death in 2009. While Wenders cancelled the production, Bausch's dancers convinced him to continue shooting anyway.While some of the routines are slow at times, shooting in 3D has certainly helped make them more appealing. Adding a whole new dimension to dance, the cinematography of the film is visually stunning.But don't expect the documentary to be like mainstream dance film Step Up 3D. Pina is a more artistic take on dance, encouraging the audience to interpret the story behind each routine.

I've seen some plays of Pina's work and also heard about her in my drama classes, thus I decided to watch this movie to better understand her life, her achievements, in short, to know her better. From the beginning to the end I was shocked, nothing say about her personal life, she barely appear in the movie, however I could completely understand her, I emulate her dance, I dance with the art, I dance with the feelings, I spent all the time there, following her passion. During the scenes her dance partners spoke about her and I could see her strength and, mostly, her beliefs. She truly believed in her acts, she believed with so much passion and with freedom that we certainly finish the movie flying,our minds creativity boiling and our body exhausted, freely. If you are reading this review is because you considered to watch this movie...just one advice: Go with passion!

"Your fragility is your greatest strength." - Pina Bausch Wim Wenders directs "Pina", an intermittently interesting documentary which now functions as a eulogy for Pina Bausch, an acclaimed German dance choreographer. Pina died shortly before Wenders began principal photography on his film.Unlike "dance films" and "documentaries" by the likes of Altman and Wiseman, Wenders' film places little emphasis on the behind the scenes struggles of dancers and dance studios and instead dryly records a series of Bausch's more famous dance routines (Café Müller, Le Sacre du Printemps, Vollmond and Kontakthof). Most of these routines are excerpted and heavily cut – were you to watch them in "real life", beginning to end, some of these routines would last up to sixty minutes – so the film doesn't necessarily convey the long-form ebbs and flows of Pina's choreography. Still, there's a haunting, creepy and at times amazing quality to some of the routines Wenders serves up, some of which have been transplanted from stage to a variety of odd, real life locations, like city streets and rolling buses. Most of these dances involve human bodies coming into contact or confrontation with shapes, obstacles and objects, which are surmounted via human malleability; the dancers often seem to move like water or gas, following paths of least resistance. The rest of the choreography seems to trade in simple contrasts, a tug-of-war between aggression and passivity, hard and soft, push and pull, delicacy and rigidity etc. Beyond this Wenders makes no attempt to contextualise Bausch's work, his choice of filming the dances adds little to Pina's choreography (it often detracts!), and often the objects, sets and "metaphors" he adds to her routines are clunky and simplistic, like his use of industrial girders, rolling vehicles and big window panes. It's a kind of obvious decorativeness; art-student grade pretensions. Still, there are numerous powerful moments sprinkled about, though, as is often the case with ballets or dance movies, one's appreciation depends entirely on what one reads into or from the dancer's bodies."Pina" is powerful for most of its first three acts, but begins to drag as it nears its climax. Voice over adulations directed at Pina from her dancers lend the film an overly referential tone, the choreographer sanctified to such an extent that her dances almost cease to speak for themselves. The film was shot in 3D, a technology most typically find annoying, but like fellow German Werner Herzog ("Cave of Forgotten Dreams"), Wenders makes the technology work, his camera weightlessly skirting above and around the dance troupe. There's a sculptural quality to Wenders' 3D images, though I suspect this quality can be found even in the 2d version of the film (which I have not seen) and that both versions can't compete with the power of Pina's live, ground-zero performances.There has been a sudden increase in the number of 3D "dance films" on the market. Wenders' film was released the same year as the Mariinsky Ballet's "Giselle 3D" (based on a Jean Coralli ballet). That film, and the ballet itself, had less frills, was very Russian, stately and elegant. And where Wenders uses 3D to get close, even into, Pina's dances, "Giselle" traded in a cool, austere distance. For me this approach (no frills, less cuts/edits, more removed, more traditional) worked better. But of course Pina is a contemporary, Modern dancer (her work wasn't even primarily about dance). Her work runs counter to classical dance; it's vulgar, experimental, post-industrial, surreal, almost pornographic. It's sexual rather than romantic, about sex, rather than sexy, and almost always conveys a sense of twisted pipes, rubble and oil, frequently deals with brutalisation and humiliation, is often apocalyptic (particularly "The Rite of Springs") and revels in the grotesque, sometimes the same dances even staged with freakishly elderly dancers. In other words, very Post War German.7.9/10 – Worth one viewing. See Wiseman's "Ballet", "The Dance" and Altman's "Company".