Two of Pina Bausch’s most famous works are rehearsed in Germany and Senegal, championing the choreographer’s legacy through a younger generation of dancers.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

This first film by choreographer Pina Bausch reflects her method of working as developed with the Wuppertal Theatre of Dance during the 1973/74 season. The film does not tell a story, but is made up of various scenes put together as a collage with scenes set in different locations. The futility of human activity and the search for love make up the film's central theme set against the strains of a Silician funeral march. Filmed on location in Wuppertal, Germany, between October 1987 and April 1989.

Pina Bausch’s iconic choreography to The Rite of Spring danced on the beach in Toubab Dialaw, Senegal. Filmed as the world descended into lockdown, this recording captures the last rehearsal of a specially assembled company of 38 dancers from 14 African countries, and documents a unique moment in their preparations for an international tour that would go on to be cancelled by COVID-19.

Pina Bausch created and performed Café Müller for her dance company Tanztheater Wuppertal. The dance was inspired by and based on her childhood memories of watching her father work at his café in Germany during and immediately following World War II. In this silent style featurette, Bausch shows a restaurant after closing, in which the ghosts of the departed customers stumble blindly into walls and onto chairs but fail to find one another.

In many ways, "Kontakthof" could be seen as the sum of Pina Bausch's choreographies: the performance takes place at a single location. The high room is completely empty and open to the public - like a showcase. The other three sides are furnished with long rows of chairs, like in a dance school. Men and women sit next to each other. Little by little they rise and all sorts of encounters ensue, some cautious and tentative, others wild and impetuous. Sometimes there is a single couple on the dance floor, sometimes the full cast of 30 dancers. Bausch created this piece with her ensemble in 1978. "Kontakthof" is one of four choreographies by Pina Bausch that the director Wim Wenders recorded in full for his film "Pina - Tanzt, tanzt, oder wir los sind" ("Pina - Dance, Dance, Otherwise We Are Lost").

In many ways, "Kontakthof" could be seen as the sum of Pina Bausch's choreographies: the performance takes place at a single location. The high room is completely empty and open to the public - like a showcase. The other three sides are furnished with long rows of chairs, like in a dance school. Men and women sit next to each other. Little by little they rise and all sorts of encounters ensue, some cautious and tentative, others wild and impetuous. Sometimes there is a single couple on the dance floor, sometimes the full cast of 30 dancers. Bausch created this piece with her ensemble in 1978. "Kontakthof" is one of four choreographies by Pina Bausch that the director Wim Wenders recorded in full for his film "Pina - Tanzt, tanzt, oder wir los sind" ("Pina - Dance, Dance, Otherwise We Are Lost").

Complete recording of Pina Bausch's piece Vollmond (Full Moon) by Wim Wenders.

While Pina Bausch was preparing her film The Plaint of the Empress in 1987, the French, British and German co-producers were waiting for a script. No script: no film. That is how the film industry saw things.The discussions dragged on but eventually the TV stations accepted the idea of shooting the film without a script. Someone had the idea of making a "test film" showing what the results of working in Pina Bausch's way could be. That's how this film was born - a documentary on the rehearsals for AHNEN, a piece she was developing at the time. For twenty five years the film stayed in the archives; today it emerges as an extraordinary document. This is how Pina Bausch and her company worked. This is how this work was created, that touched so many people continous to do so today.