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reviews

83
Based on 32 Reviews
critic reviews (10)
fan reviews ( )
  • 80
    Joe Morgenstern Wall Street Journal

    The images captured by the film - dancers in theatrical sets, dancers in surreal exterior settings - are deeply scary for their loneliness and pain, and crazily thrilling for the intensity of their joy. show more

  • 100
    Steven Rea Philadelphia Inquirer

    The real 3-D experience of the season is Pina, Wim Wenders' shockingly beautiful and moving tribute to the late German choreographer Pina Bausch. show more

  • 60
    Elizabeth Weitzman New York Daily News

    The film is best suited for dance buffs excited by an unexpected congregation of artistic pioneers. show more

  • 80
    The Hollywood Reporter

    Wim Wenders' stylish 3D mirrors the bizarrely captivating world of choreographer Pina Bausch. show more

  • 90
    Stephanie Zacharek Movieline

    What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it. show more

  • 100
    Michael Phillips Chicago Tribune

    In both theatrical environments and open-air ones, with Wenders paying close attention to the geometrics as well as the psychology of the movement, Pina is the best possible tribute to Bausch, and to adventurous image-making. show more

  • 100
    Lawrence Toppman Charlotte Observer

    Most documentaries put us inside people's heads. The dazzling, experimental Pina puts us inside people's feet. show more

  • 100
    Calvin Wilson St. Louis Post-Dispatch

    The result, Pina, is the most spirited and spectacular film about dance since Robert Altman's "The Company." show more

  • 88
    Roger Ebert Chicago Sun-Times

    I watched the film in a sort of reverie. The dancers seemed particularly absorbed. They had performed these dances many times before, but always with Pina Bausch present. Now they were on their own, in homage. show more

  • 88
    Washington Post

    The result is a panorama of emotion, in which one dancer exhibits pure joy and another severe aching. As Bausch notes early in the film, words alone cannot describe something, nor can dance. One medium has to pick up where the last has left off. The disembodied words seem to get to the heart of that idea. show more

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