Image Credit: Pixar
At a time when major studios are merging, it is always good to remember the legacy these companies have left in pop culture. Although Pixar itself was the subject of an acquisition in the past, its DNA remains virtually intact since the merger with Disney.
Every company has its ups and downs. Even in times of crisis, from streaming releases due to the pandemic to the commercial failures of Lightyear and Elio, the home of The Incredibles has always delivered great stories. In this vein, it’s good to be able to say that Hoppers, the studio’s new project, is not only good, but manages to step out of its comfort zone a little without abandoning familiar elements.
The plot follows the story of Mabel, a young animal lover who uses revolutionary technology to connect with the animal world in a unique way. Thanks to an invention that allows her to transfer her consciousness into the body of a robotic beaver, she can now explore the mysteries of the animal kingdom, experiencing the world from a completely new perspective, as well as accessing her own emotions and imagination.
As Mabel ventures into this fascinating universe, she encounters a major threat: Jerry, the mayor of her town, whose hostile attitude puts animals at risk. Determined to end the coexistence between humans and animals, Mabel must act undercover as a robot marmot to uncover his plans and protect her furry and feathered friends. Jumpers is a fun story, with heart and lots of action, about empathy, courage, and the power of understanding others—whether they are humans or animals.
Hoppers is pure—and great—chaos
The Brazilian audience was fortunate to receive an excellent localization in terms of the title and dubbing of Hoppers (in the original). Entitled Hoppers – an expression that perfectly matches the premise of the animation – Pixar’s most original film in years is pure chaos. With a fast pace and a welcome shower of colors, especially in an increasingly opaque era in Hollywood, the film seems to have been lovingly designed for Generation Z. This, of course, does not exclude others, as it is in the studio’s playbook to always tell universal stories.
Speaking of color, the film makes good use of the fauna and flora of the clearing, where much of the story unfolds, with a unique beauty not only in the textures of the animals, but especially in the natural landscapes. Although a lot happens in the focus of the scene in less than two hours, it is possible that many will end up appreciating the well-constructed watercolor backgrounds, with a depth of field that appears to be a mix between 2D and 3D.
For many, including this journalist, animation is one of the most prolific languages in cinema. While stumbling and getting everything right in its heated excitement, this project manages to stand out with the fit of animated strategies to the plot. For example: by taking on a dynamic of different perspectives according to the use of technology presented in the film, à la Avatar, the director also plays with the animals’ appearance.
From the humans’ point of view, they are cute, but they convey a sense of distance, mainly through their gaze; however, with the use of communication devices or within the animal kingdom, their expressiveness is explosive. In this case, with a good use of exaggerations that make up all the chaotic comedy of the production, he shows how everything takes on another life and immense vibrancy within the little world of beavers, lizards, deer, birds, snakes, worms, and squirrels, among others. Everything shines with the contagious energy of the protagonist.
Pixar DNA intact amid Hoppers’ boldness
Although Inside Out is one of Pixar’s most daring and creative films, it still has layers of depth. Otherwise, its story would be hollow, consisting only of elements of a fast-paced comedy—and I dare say it would still be entertaining. Despite reports pointing to a possible decrease in the production’s socio-environmental messages, the plot takes a mature look at Mabel’s relationship with the mayor regarding nature preservation.
It is possible to access visibly complex layers in the plot, ranging from animal protection to the coexistence of all living beings in the environment. With the use of family issues and the recognition that we cannot achieve anything alone, especially when the price of pursuing dreams can be loneliness, the film opens up to a flow of subjectivities. This makes the animation even more appealing, as combined with the continuous events, there seems to be a whirlwind of stories to be told.
The protagonist’s impulsiveness takes her to extreme places, and with a good mix of comedy and absurdity, she manages to get some good laughs out of many situations, but also establishes certain reflections without being propagandistic. In addition to Mabel’s relationship with her grandmother, King George’s past, for example, is part of this tapestry of dramas. Briefly mentioned, this story demonstrates how careful attention was paid to constructing this fantastic world, even with what is off-screen.
When we think that everything is still connected to a problem related to the real world, the narrative becomes even more interesting, as the conversation between fantasy and realism generates certain insights. This evocation of feelings and reflections has a fundamental agent: Mark Mothersbaugh. The composer conducts a soundtrack responsible for driving the plot with elegance and a lot of energy, with tracks that evoke the espionage atmosphere of The Incredibles to the grandiose moments of Soul.
One of Pixar’s best films and a welcome addition to the cinema
Since Elio underwent many changes from the original idea, it is a relief to watch Hoppers, Focinho de Outro and see an authentic film, even with possible changes along the way. There are so many ideas overflowing on the screen that the replay factor will become the desire of many when leaving the theater. People always talk about Pixar’s power to build bonds between good characters and powerful stories, something that this animation undoubtedly achieves.
Hoppers could be a film of dualities, as it presents many of them, but it tries to surf on creative freedoms that compete for space between fantasy and reality. There are minor hiccups along the way in a joke that doesn’t work or the studio’s attachment to the classic formula that makes certain moments somewhat predictable, but when you see a scene that evokes the Sharknado franchise or when there are horrifying passages that play with human monstrosity, any poorly executed issues fade away.
The belonging of humans, animals, and other living beings to the whole is well crafted, as the animation attempts to demonstrate that there are many ways to deal with coexistence issues. Superficiality is left aside to embrace a gray area in which many lessons can be learned. In a prolific decade, but one lived on a roller coaster of mistakes and successes, Pixar achieved this triumph by not taking itself too seriously, without subjugating the audience or abandoning what made it so special.
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