redvelvetteacake: Resurrecting “Pina”: Wim Wenders’ Eulogy for a Lost Friend Whe
redvelvetteacake: Resurrecting “Pina”: Wim Wenders’ Eulogy for a Lost Friend When Bausch died unexpectedly, Wenders knew that, “Making a film for Pina instead of with Pina seemed like an important way for all of us, for the dancers even more so than me, to fill that loss and deal with the hole in their lives.” In Bausch’s Season’s March—which appears in both the beginning, middle, and end of the film—her troupe of dancers, clad in evening gowns and suits, walk in a line, gesturing their bodies in unison. The movement may not be elaborate, but we watch as the characters of her life travel in a cortege to end the film and to say goodbye to Bausch. Wenders said that making Pina after her death was “even more important for the living than the dead”: what we see on screen is a healing process, an homage that both resurrects her through our 3D perception and then lets her go off into the ether. The final moment of the film comes back to the theater as a film of Bausch dancing alone is projected onto the stage. By keeping the camera’s lens at a distance, Wenders releases us from the film’s tight embrace, breaking its spell and casting us back into the world of the living. -- source link