Later, I finally had the opportunity to read the full version of "Café Mueller", in black and white film, and felt that she was a distant existence on the other side of the world. Later, after reading the book about her by the dance critic Jochen Schmidt, I learned that she was a workaholic, she smoked violently, she devoted all her passion and life to dance, and dance was her lover, The troupe is her family. Still later, she was diagnosed with lung cancer and passed away just five days later, as if she was waiting for some kind of call to hear and walk away without entanglement.
I was looking forward to hearing that Wenders made a documentary about Pina. Wenders is my favorite director, not to mention "Havana" first. I thought I would see more images of Pina in the documentary, but it was not. The film's approach is surprisingly accurate. To convey Pina's most precious spirit does not need to watch her eat, sleep and get sick. Her life is revealed in dance.
The state of Pina's absence is a documentary filming conundrum, and Wenders deftly solves it. We can fully imagine Pina's quest from the dances, silences and memories of other dancers, she has created a wealth for the world, and this wealth is a spiritual power that flows through the bodies of more dancers, who use their bodies to The energy collected and released literally shatters the world. What Pina wants to express with dance is indescribable and beyond everyday scenes. Only dance is the essence of her soul.
Therefore, the film abandons daily life and language, purifies it, breaks away from the specific scene, transcends the flow of time, and grasps the whole.
Wenders' handling of the interview is amazing. Instead of speaking to the camera, the dancers are caught in a personal reverie or emotional state in front of the camera, and their language appears in a voice-over. Instead of sitting across from a person and listening to him, we went into the heart of that person and heard his heart. We seem to be able to read minds of some kind. We feel that the dancers in front of the camera are very real and sincere. We touch the quality of the god-like Pina behind these dancers of different skin colors and languages.
Watch these dancers dance again. They don't have the bodies and faces of angels, and they don't need fancy clothes to adorn them, and their dance moves sometimes don't look elegant or even funny, but they're extreme, they're out of the ordinary, they make you feel their joy, sadness, and anger. Passion, even that sub-passion, is unbearable for ordinary people, they break through the ordinary and create a new world.
Wenders is really Pina's confidant. The real scene he chose matched the dance very well, and the real scene made the dance fly. The dance in the real scene is more surreal. This surreal feeling is not ironic, it praises human creativity, and it injects vitality into reality. Although I have not yet experienced the 3D effect, I am very moved.
Pina is the god of creativity. She is able to inspire the power of dancers' personalities and force their creativity. In the dance performed by Pina, no matter how many dancers are on the stage, even if their movements are similar, you can see individuals full of personality. The individual is amazing. Each dancer shows his individuality, which is difficult to achieve in traditional dance.
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