That is to say, a few hours ago — the 6 of April being the French release date of Pina. Most of the time the viewer forgets its existence. Perhaps, soon, I will be dreaming in 3-D. I was initially skeptical about the 3-D. Those who worked with her at least those that were interviewed have the greatest love and admiration for her and what she was able to bring out of them. Till the 1950's people used to dream in black-white. Además del shock que le supone acabar de golpe con su placentera vida acomodada, pronto descubrirá que demasiada gente en la cárcel está tras la pista de nueve millones de euros robados de un furgón.
In this rather commercial context, Wim Wenders seems to be first « classical filmmaker » to use it for artistic purposes, that is as an adequate medium to render the complexity of Pina Bausch's choreography. What these do get across are that Pina Bausch had a way of communicating with people and a depth of feeling that is unusual and wonderful. After a first, innovating and convincing half-hour, Wenders' narration becomes repetitive and monotonous. I saw it at a local arts centre which has a very good screen but I've never seen anything as sharp and as detailed as this. So, for me a wonderful surprise.
Synopsis In modern dance since the 1970s, few choreographers have had more influence in the medium than the late Pina Bausch. Wim Wenders is an Oscar-nominated German filmmaker who was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland Federal Republic of Germany, known colloquially as West Germany until reunification. Here, there is no paradox and not much spontaneity. As a documentary, it doesn't do much to reveal its subject. But if, like me, you have heard that this is a visual feast of a film, or just that it is a Wim Wenders documentary, and are wondering whether to go see it for those reasons, this might help you decide. I understand it's a way of communication, but it's one that has never communicated to me.
I found tonight not only a visual but a kinaesthetic carryover as I walked to the car, drove my friend to the subway, and then drove home through streets light in traffic. The new technique has remained a mere gimmick, funny and compelling at first sight, but eventually tedious. It only appears from time to time : a sudden big shot, leaves floating in the air, drops of water falling on human skin, curtains dividing the space Theses are all magical moments. Preceding Wender's documentaries really showed the in and out of things : Tokyo-Ga revealed the paradoxical legacy of Ozu, and the Buena Vista Social Club the spontaneous life of the homonymous music band. It's not a must-like, but a definite must-see. The quality of the visuals is startling. Still, it was amazing to watch.
In modern dance since the 1970s, few choreographers have had more influence in the medium than the late Pina Bausch. I ended up with a great feeling of admiration for her myself. I understand it was filmed in 3D although I saw the 2D version. The wave of Hollywood-like and -made items following Avatar has not convinced me. Drama Drama carcelario Sinopsis Narra las vivencias en prisión de Macarena, una joven frágil e inocente que nada más ingresar en la cárcel se ve inmersa en una difícil situación a la que tendrá que aprender a adaptarse. Pina 2011 Pina : In modern dance since the 1970s, few choreographers have had more influence in the medium than the late Pina Bausch. On the other hand, I expected much of the Wender-Bausch dialog.
One of the hallmarks of strong cinema, for me, is an altered perception of the world when I leave the film, which sometimes lasts for a considerable time: the vision of the film awakening me to what is around me. But visually, physically, this film ended up astounding me. . Perhaps that was the point of the documentary. It's mostly a serial of individual focus on dancers who all equally says how fine Pina was and sorry they are about her death.
It comes across with such intensity, such belief and such love, that I almost became a fan of contemporary dance. My final statement : an overlong documentary, but, probably, the cinematic experiment of the year. 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. These little pieces are so beautiful and so unexpected. It has stuck with me such that I can't stop thinking about it.
And the colours seemed more vivid than is usual. The way it is filmed also seems to work very well. It is simply a joy to watch. They all came flat whenever I entered a Parisian movie house on the Champs-Élysées. The film does not go beyond an extensive, overlong tribute. Wim Wenders Wim Wenders, Director: Der Himmel über Berlin. I have always put it into that category of 'things I just don't understand'.
A continuacion podes descargar el de Vis a Vis. Most of the dance sequences are filmed quite simply on stage, but the framing seems to bring out the subjects well, even in 2D. 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. I tended to agree with these considerations. Well, the result is not so good.