Pina 3D captures Pina’s unique choreography, her demanding works, her incredible dancers, and her amazing legacy featuring excerpts from Le Sacre du printemps, 1975, Café Müller, 1978, Kontakthof, 2000 and Vollmond, 2006. In addition, Wenders invited the dancers of the ensemble to perform solos using Pina’s method of “questioning,” which served as an answer as to how to create the film without Pina (who died unexpectedly just two days before filming began).
The solos were shot on location throughout Wuppertal, Germany and the surrounding landscapes, making for a stunning backdrop to the intense and dramatic performances by these dedicated dancers. My two favorite excerpts from the solos included a woman stuffing raw veal into her pointe shoes and dancing in front of a refinery and another woman dancing on a median in Wuppertal as the elevated rail goes around a bend.
Not only was the subject intriguing and beautiful, but the film-making captured dance in a way that no other film has been able to. With the use of 3D technology, the audience was invited to engage in the works by feeling the depth of the staging and the depth of meaning. Pina 3D is the first European 3D film and the first 3D art house film (produced by Neue Road Movies).
But what is most interesting is the way that Pina’s presence is felt throughout the film. She lives in the choreography and in the souls of the dancers (even when they are not dancing). Thus proving her legacy as a choreography.
All in all, Pina 3D is a visual and visceral experience in dance unlike any other film.