Forced and painstaking wherever you look at it, although also gentle and warm but in the background, primary This seems like a movie that Pixar made for two, maybe three reasons. First, to test animation techniques producing characters that were literal, physical, anthropomorphic representations of the elements fire, water, earth, and air. Second, continuing to build those worlds away from any kind of realism—as they were from inside to outside one of two Soul– who operate in universes with their own logic, highly symbolic versions of the real world. And third being able to talk about political issues – racism, xenophobia – without sticking my head directly into those issues.
Directed by Peter Sohn primary takes place on a planet (or a universe, it is not clear) whose inhabitants represent the four elements. They are usually divided into different lands, and when they live in the same city, as is the case with Element City, where the story takes place, they do so in different neighborhoods, approximately colony in which they are rarely mixed with other elements.
The protagonists are of the fire element (Flaming, Furious, the Cannes show did not have Spanish subtitles), the last to arrive in Element City and the ones who have the most problems integrating, it is known, theirs is an element that is dangerous and dangerous if left unchecked. can be devastating. The rest of the elements are marginalized and isolated, so they feel somewhat confined but happy in a neighborhood made up almost entirely of “fiery” people. There is no specific ethnic identity to compare them to and the film presents them as a combo of immigration characteristics from very different origins.
On arrival they speak a guttural language and respond to some strange names, such as Útri dár ì Bùrdì and Fâsh ì Síddèr. They, like many immigrants, would soon be known by “Americanized” names such as Bernie and Cinder Lumen. They’ll have a girl they’ll call Amber, they’ll move into an abandoned house and turn it into a home and a flourishing business (when they come, when they want to rent a house, everyone slams the doors in their faces shuts down), years will pass and everything is set up for the already adult Ember to take control of the complex.
The problem is that the girl is furious. It is: she gets very nervous and stressed when she is in charge of business and more than once she ends up burning everything down. One day his reaction to a crowd of bargain buyers is extreme, he almost sets fire to the family compound and breaks the pipes that flood the underground. This would be discovered by Wade Ripple, a man from the water (could be an aquatic?) who acts as a sneaky and guilty inspector, controlling the business situation and issuing a fine that the Fire family can be closed.
This will lead to Amber trying to convince Wade to give him a second chance in order to avoid suspension of business. And through those tours, talks and literal trips around town trying to discover and cover up water leaks, fire and water will get to know each other and they already know what those things are. What happens with Only here, for obvious reasons, it’s a combination that’s flammable or floodable or downright dangerous. For yourself and for others. Allegory, it is known, is served.
Regarding his ideas about a more harmonious world and integration between the races (sorry, elements), the film is somewhat simplistic, even generic, designed for very young children. And with puns on the names of things that are already basic in the original English and perhaps even more so when they are dubbed into Spanish. Interestingly, both characters are associated with the air (in the form of thick clouds, perhaps representing whites of a certain economic status) and the people of the earth (in the form of trees of all kinds, which probably represent the United States of America). In this metaphor about something like the rest of the white “working” population or previous immigrants), there has been little development primary, They are really secondary elements.
What works better than the grand metaphor is the romance between Amber and Wade, who go from rejecting each other to being together and when the “chips burn” (my jokes are as bad as in the movie) they have There is no option other than “throw a bucket of cold water” (sorry) on the relationship. She must deal with her attraction to Wade, her family duties – a classic Disney animation theme – and her fear of her parents’ reaction when they learn she loves the watery existence. Meanwhile, she has a progressive family (is that Aquatics?) who accept the girl as a potential girlfriend and they have a habit of crying excessively over any nonsense, probably the only joke repeated in the movie that works very well. does.
The film does a good job in that area and becomes softly sentimental towards the end. But for this you have to go through a long series of adventures that may very well be plumbers (in the end, all they do is patch up broken pipes around town) and endure a series of bad jokes. that transforms real world situations. are very similar in this “Americanized” parallel universe, which also has the Super Bowl, its Black Friday (here it’s Red) and so on.
And the other “item” that works well is, predictably, the animation works. primary Creates a fascinating world and sometimes you want to lose yourself in it background Than follow some details of hacked history. This creation of alternate universes allows Pixar to explore techniques, make characters and backgrounds better coexist with each other, and living at it certainly enhances the experience. But that’s not something everyone will do, even the smallest ones. The central ideas of the story will be clear to them and they will definitely get out of watching whether they want to be kind to others or, failing that, study chemistry at university.