This is a film you can watch many times, the dancers are so wonderful and the whole thing amounts to a statement of great beauty about movement and psychology. Pina herself remains an enigmatic figure, clearly much loved and missed by the dancers, but we don't see that much of her. What we do see has the kind of grace you might expect, both in her dancing and presence. We just see a short clip of her in Cafe Muller but it makes an indelible effect, it seems to come from some extraordinary place. She explains it in terms of where you look behind closed eyelids, but this doesn't seem to account for the interiority of her performance. The other dancers are all amazing in their different ways; I couldn't help thinking how soulful and beautiful they were, as if they all inhabit a state of grace. Maybe to dance at this level does give a special state of consciousness, removed from the hierarchy of a more traditional company. It is different in each case, however every one of them is compelling. The pieces they perform have a strangeness often, and a rightness. I don't always feel I know what is going on exactly, but they give joy in any case, and a kind of release, as if Bausch in her pieces was able to access something beyond other choreographers. There is a lot of play between genders and to do with sexual tension, as well as playfulness and humour. One dancer frolics in the water with a large fake hippopotamus. Another was asked to do a movement that meant joy to him, he improvised something, and Pina turned it into a brilliant ensemble piece. You are moved and burst into a smile at the same time. It is nice to see how she also used older dancers than we usually see, to great expressive effect. Her company is a wonderful example of working in a group and what it can achieve; one's response is a slight envy of people who spend their working life concerned only with the most elevated things, creating beauty and communicating through it; they are very lucky, but it must be very exacting too.