Pina

German filmmaker Wim Wenders is a huge fan of Pina Bausch, the legendary choreographer who was one of the most influential figures in the world of modern dance.

That affection is apparently in every frame of Pina, an unconventional documentary from Wenders that really is more of a tribute to Bausch and her craft.

The film should thrill aficionados of ballet and interpretive dance but might be a bore for those who aren’t fans of Bausch or knowledgeable of her work.

Almost the entire film, which is shot in 3D, consists of re-creations of some of Bausch’s work, many times using dancers who worked under her.

The variety of dance numbers is impressive. There are numbers for solos, duets and groups. Some are upbeat and playful, while others are slow and introspective. What shines through in each, however, is the intensity and emotion that made Bausch famous.

Bausch was a dancer, choreographer and teacher, and there are sections of the film devoted to interpretations of some of her most famous dance works.

Pina doesn’t have much in the way of dialogue or frills, except for intermittent recollections from dancers about Bausch’s influence on their lives and careers. But even those trite observations don’t offer much insight into her life away from the stage, nor do they put her career into much context in terms of her styles and innovations.

That lack of background might be frustrating for curious moviegoers who will need to look up Bausch on the Internet after watching the film for such information.

Some of the dancing is top-notch, as is the eye-catching array of backdrops that range from almost barren stages to crowded urban street corners. The creative use of 3D adds visual depth, and even non-fans will find plenty to admire visually.

Wenders is upfront about his fondness for the work of Bausch (who also hailed from Germany), having slated the film for production even before her death in 2009 at age 68. Perhaps only the filmmaker knows whether that changed the course of his approach.

Either way, the focus remains on the dancing, which is probably the way Bausch would have wanted it.

Rated PG, 103 minutes.