On Questions of Paradox with Pina

Arriving at cinemas not long after Cave of Forgotten Dreams (2010), Pina is another 3D film by a director one wouldn’t assume to embrace the new technology, Wim Wenders. Next up is Martin Scorsese’s, Hugo (2011). The paradox here, as with Cave of Forgotten Dreams, is that the subject matter of Pina is aimed at a very specific, niche audience, yet the technology is primarily used to enhance box office by charging more for cinema tickets and appealing to a larger audience. Pina began life as a documentary about Wenders’ close friend and choreographer, Pina Bausch. Sadly, during filming, Bausch passed away and the film became a tribute to her work, complemented by interviews with the key dancers in her company, reminiscing on their lives with Pina. Without knowledge of dance, or of Pina Bausch, this could have been a difficult film to watch. Attempting to add your own meaning to the dances would prove fruitless and lead to one missing much of the excitement. Yet, Wenders’ skill as a director turns this into an overwhelming experience that should simply be allowed to wash over oneself. The dancing is impressive and the choreography incredibly creative. Wenders’ matches Pina’s creativity with his own and because of this the film, which could realistically be very isolating for some people, becomes a joy to watch.