20 - not only stands alongside “Hugo” as the year’s best use of 3D, but it does a bold, brilliant job of capturing the work of a choreographer whose mesmerizing and challenging work has been enthralling me for a couple of decades. I think “Pina” - which begins its official L.A. And sure enough, I heard reports that its official screening for the general committee met with walkouts, and grumbling over the fact that it was “double-dipping” in the foreign and doc categories.īut no sooner had I written an annoyed item about that screening than I began to hear from other voters who were there, and at subsequent screenings – and the consensus from those viewers is that the film played extremely well and does have a real shot of advancing.įor my money, it certainly deserves it. It also became a rare documentary entry in the Oscar Foreign-Language Film category, where voters often seem prejudiced against films that aren’t conventional narratives.
“Pina” wound up in this year’s Oscar race in the documentary category – where the film, which makes rich use of 3D, appeared to be crippled by the fact that doc branch voters screen submissions on 2D screener DVDs. And he restarted later that year with a film reconceived as a tribute rather than a collaboration. He canceled the whole thing when Bausch died unexpectedly on the eve of a key shoot in the summer of 2009. Its director (left), best known for the likes of “Paris, Texas,” “Wings of Desire” and “The Buena Vista Social Club,” struggled for decades to figure out how to document the work of German choreographer Pina Bausch and her Tanztheater Wuppertal. Wim Wenders’ marvelous dance documentary “Pina,” which had a remarkable $88,399 opening this weekend in only three theaters, has been defying the odds for a couple of years now.
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