| Pina Bausch | ... | Herself | |
| Bénédicte Billet | ... | Herself | |
| Josephine Ann Endicott | ... | Herself |
Directed by | |||
| Rainer Hoffmann | |||
| Anne Linsel | |||
Writing credits(in alphabetical order) | ||
| Anne Linsel | concept | |
Produced by | |||
| Gerd Haag | .... | producer | |
| Anne Linsel | .... | co-producer | |
| Anahita Nazemi | .... | producer | |
| Sabine Rollberg | .... | producer: WDR | |
| Cornelia Volmer | .... | line producer | |
Cinematography by | |||
| Rainer Hoffmann | |||
Film Editing by | |||
| Mike Schlömer | |||
Production Management | |||
| Cornelia Volmer | .... | production manager | |
| Marijana Vrselja | .... | unit manager | |
Sound Department | |||
| Tim Dohnke | .... | sound | |
| Uwe Dresch | .... | sound designer | |
| Uwe Dresch | .... | supervising sound editor | |
| Thomas Keller | .... | sound | |
| Tobias Linsel | .... | sound | |
| Falk Möller | .... | sound mixer | |
| Paul Oberle | .... | sound | |
| Wilmont Schulze | .... | foley artist | |
Visual Effects by | |||
| Andreas Fröhlich | .... | colorist | |
Camera and Electrical Department | |||
| Thomas Kutschker | .... | director of photography: second unit | |
Editorial Department | |||
| Andreas Brändlein | .... | assistant editor | |
Music Department | |||
| Juan Llossas | .... | composer: additional music | |
Other crew | |||
| Pina Bausch | .... | choreographer: "Kontakthof" | |
| Bénédicte Billet | .... | dance master | |
| Josephine Ann Endicott | .... | dance master | |
| Sonja Hempel | .... | production assistant | |
| Ulla Wätzig | .... | production assistant | |
Thanks | |||
| Pina Bausch | .... | dedicatee | |
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| Pina Bausch | (Why does my Father sell his) Record Collection? | O.T. | Ohne Abseits | Claus Theo Gärtner im Einsatz |
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| Full cast and crew | Company credits | External reviews |
| IMDb Documentary section | IMDb Germany section |
I don't know anything about dance, and I went to see this because my friend wanted someone to go with him. At first I was like "oh great, what did I get myself into for the next hour and a half" because I didn't want to watch annoying teenagers perform what seemed like horrible dance moves - especially after watching dancers with machine-like precision on So You Think You Can Dance and Dancing With the Stars. But there was so much more going on. These teenagers first of all seemed so different than American teenagers. They seemed more authentic and more human somehow. It was amazing to see what was asked of them in the raw, behind the scenes, way we are able to see it. The teachers were so dedicated, such good guides, so in love with the youth of the teenagers. The teenagers themselves were transformed and the final product was actually really great. Pina seemed to understand the symbol she embodied, she was a muse and she took the responsibility seriously, pointing past herself to something greater. Not many egos can withstand that but she bore the burden of what she represented very well. She was old and had seen it all in terms of dance yet she was as mesmerized as we were. I felt transported during this movie and afterward, I felt so alive. You can't ask for more from a movie than that.