By Carrie Stern
What a treat. Last week I saw Wim Wender’s documentary Pina.
Pina is an ode to choreographer Pina Bausch. Juxtaposed against archival footage of Bausch working, the film documents new versions of her dances “Café Müller,” “Le Sacre du Printemps,” “Vollmond” and “Kontakthof.” Especially fascinating is Pina performing the original “Café Müller.”
Wenders met Bausch, the founder of Tanztheater Wuppertal, in 1985. The two became friends. For many years they discussed collaborating on a movie of Bausch’s work. But
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