Synopsis: In modern dance since the 1970s, few choreographers have had more influence in the medium than the late Pina Bausch. This film explores the life and work of this artist of movement while we see her company perform her most notable creations where basic things like water, dirt and even gravity take on otherworldly qualities in their dancing.
Genre: Documentary
Director(s): Wim Wenders
Production: IFC Films
  Nominated for 1 Oscar. Another 10 wins & 24 nominations.
Rotten Tomatoes:
103 min

Soon it will be spring again.

Grass sprouting.

Then comes summer,

tall grass,


Then comes autumn,

leaves falling.

And then...






There are situations, of course,

that leave you utterly speechless.

All you can do is hint at things.

Words, too, can't do more

than just evoke things.

That's where dance comes in again.

Pina was a painter.

She consistently questioned us.

That's how we became the paint,

to colour her images.

For example she'd ask for

"the moon"?

I depicted the word with my body

so that she could see and feel it.

I danced in Caf Mller myself.

We all have our eyes closed.

When we did a reprise,

I couldn't get the feeling back,

a feeling that mattered so much to me.

All of a sudden I noticed

that it makes a big difference,

behind closed eyelids,

whether I look down, or like this.

That made all the difference!

The right feeling

was there immediately.

Unbelievable how crucial that is.

The tiniest detail matters.

It's all a language

that you can learn to read.

We developed the piece

in two weeks, Dominique!

The speed was unbelievable!

Amazing how the idea materialised

from just a table and four chairs.

Typical Pina! I remember.

- Then, bang, chairs!

- Exactly.

Then, bang!

Rolf played with the chairs,

and they became integral to the piece.

So beautiful!

Kazuo Ohno also left us

not too long ago.

I imagine him and Pina up there

dancing together...

leaping from one cloud to another.

Pina had the most penetrating eyes!

No one has ever read me that way.

Everything I tried or pretended to be

disappeared under her gaze.

Instead, she saw something

I was afraid of

because I didn't know it yet.

Who was Pina?

She combined

fragility and strength.

She was also capable of

endlessly listening and watching,

and overcoming all her limits.

So I imagine her like a house

with a huge attic full of treasures.

Pina wasn't going to dance.

You always forgot your moves.

We refused to do it without her!

She got involved because you insisted...

That she showed me the moves?

Come off it!

But it's true!

I insisted that she danced.

That was the only way for people

to see her on stage!

I never wanted

to dance Cafe Mller.

When Pina asked me to dance her part

I said yes.

But I never really learned it.

I wanted her to dance forever.

I saw her do Cafe Mller so often.

I wanted to sense what she was feeling.

She moved as if she had

a hole in her tummy,

as if she'd risen from the dead.

When I'm on stage today,

I try to imagine Pina

in her pain,

but also in her strength

and her loneliness.

How often

did I dance

Caf Mller with Pina,

and see her hair, back, arms,

knew, with my eyes shut,

that she was aware of us all!

She saw everything,

even with closed eyes!

We danced and laughed all the time.

We were always together

until four in the morning

to devise something for the next day.

That was at the beginning of the company.

We'd meet at Barmen station

every morning

for coffee and a roll

and go over the day's work.

You always felt more than just human

working with Pina.

It was good

being an older dancer with Pina!

Well, the younger years were good, too.

I was 24 when I came to Wuppertal.

But at 40, more and more,

I thought, "All this space,

all these opportunities!"

Pina's eyes turn everything we do

into something even more beautiful.

To be old and a child at the same time.

After an awful rehearsal of Iphigenia

Pina didn't say a word to me.

Before the performance,

she came and said as usual,

"Ltzchen, be good!"

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Wim Wenders

Ernst Wilhelm "Wim" Wenders (German: [vɪm vɛndɐs]; born 14 August 1945) is a German filmmaker, playwright, author, photographer, and a major figure in New German Cinema. Among many honors, he has received three nominations for the Academy Award for Best Documentary Feature: for Buena Vista Social Club (1999), about Cuban music culture, Pina (2011), about the contemporary dance choreographer Pina Bausch, and The Salt of the Earth (2014), about Brazilian photographer Sebastião Salgado. One of Wenders' earliest honors was a win for the BAFTA Award for Best Direction for his narrative drama Paris, Texas (1984), which also won the Palme d'Or at the 1984 Cannes Film Festival. Many of his subsequent films have also been recognized at Cannes, including Wings of Desire (1987), for which Wenders won the Best Director Award at the 1987 Cannes Film Festival. Wenders has been the president of the European Film Academy in Berlin since 1996. Alongside filmmaking, he is an active photographer, emphasizing images of desolate landscapes. He is considered to be an auteur director. more…

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Submitted on August 05, 2018

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    "Pina" STANDS4 LLC, 2023. Web. 25 Mar. 2023. <>.

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