THE Pixar is known for a range of animations that have marked and continue to mark an era, transforming narratives aimed at children and teenagers into reflections on life and on how we overcome the multiple obstacles placed in our way. And, within the company’s explosive pantheon, one of the most iconic sagas of all time is ‘Toy Story’: The beautiful plots explored by the franchise range from friendship to sacrifice, and showed the world characters like Sheriff Woody, Jesse, Bullet in the Target, Mr. Potato Head, Slinky and so many others. And, without a doubt, one of the most memorable is the lovable and courageous space ranger Buzz Lightyear.
It’s no surprise that, three years after Pixar ended the arc of ‘Toy Story’ with a surprising and exciting conclusion, the technical and artistic team has turned to a sort of origin story focusing on Buzz. The feature film, entitled ‘Lightyear’meets expectations and, even slipping here and there, poses itself as a visual spectacle and a pulse of various elements that resonate with the most diverse ages – either by the adventurous content sci-fi own of backstory of the titular character, or by the nuances that unfold in brief 105 minutes of screen. More than that, the project emerges as a metalinguistic and metadiegetic incursion that creates a cosmos within a cosmos – literally and figuratively – showing that the studio still has a lot to tell a growing legion of fans.
When announced, the film was accompanied by several controversies on the part of the spectators’ reception, either by the presence of a lesbian couple, or by the change of actors in the dubbing cast (Brazilian and international). However, the criticisms made only served as a mask to hide idiotic intentions to boycott the work – and, in the end, it is built with such subtlety and honesty that we want to watch it again. And for those who were worried, Marcos Mionwho commands the voice of the patrolman in the national territory, does a competent work and that dialogues with the personality of the hero, a fearless man who refuses to fail and who considers his own mistakes as inexcusable attitudes.
‘Lightyear’ already starts with a link with ‘Toy Story’, revealing himself to be Andy’s favorite attraction, the young boy who gets Buzz as a birthday present. In a few minutes, we are dragged into an energetic adventure on a hostile and unknown planet in which the protagonist and the rest of the crew are trapped, dealing in whatever way they can to get out of there and re-cross the reaches of space. As the icing on the cake, we have the deep friendship between Buzz (originally played by Chris Evans) and Alisha Hawthorne (Use Fertilizer), which serves as a driving force for both to engender an escape plan and to guarantee everyone’s safety. The protagonist soon volunteers to test the hyperspeed engine that will take them away – and this is where we face the first big twist.
The long is in charge of Angus MacLane in his official theatrical debut – and his magnificent work already makes him one of the favorites to open a new era for Pixar and even win some statuettes in the next awards season. MacLane had already lent his skills to animated short films, including the predecessor franchise, and demonstrates that he has a huge cultural background, reflected in the multiple scenographic references: the dynamics of the characters is reminiscent of classics such as ‘Star Trek’ and ‘Star Wars’while the delineation of antagonists is an agglutination of ‘Alien – The 8th Passenger’ and ‘Terminator’. In addition, the dramatic pieces fit into a harrowing understanding of the ephemerality of time and human relationships – why, Buzz loses four years alongside his companions every time he participates in a hyperspeed test, watching his life completely change every time time it lands on the planet.
MacLane is also in charge of the script alongside Jason Headley, both work in a continuity that does not touch artistic pedantry or an exacerbated technicality (in other words, scientific jargon is shown in a didactic way and accompanied by visual explanations that help in the conduct of the work). The dialogue draws on some genre formulas to carve out lasting connections with the little ones, but it’s brushed with acid and fun comedy, courtesy of the cast’s chemistry and the Sox welcome.Peter Sohn), a robot cat who accompanies Buzz and who has a passionate and unfiltered personality. Keke Palmer also surrender to a performance applaudable as Izzy, Alisha’s granddaughter, whose dreams conflict with the calculating coldness of a Buzz who wants more than anything to let go of the misconception that holds them hostage.
It is undeniable to see the inspirations adopted by the production as we bought this journey, but the biggest surprise comes with the competence of the team of animators. The hyper-realism employed in the film is breathtaking, betting on a space-opera colorful and vibrant, whose space station’s reddish color palette contrasts with the heady green of the planet and the creatures that live there – and the deadly imminence of an alien spacecraft that begins attacking the human colony. And on top of that, the atmospheric, orchestral soundtrack by Michael Giacchino transports us to a beautiful instrumental synesthesia.
‘Lightyear’ it represents a solid hit by Pixar (which is no surprise, bearing in mind the company’s near impeccable track record); painstakingly assembled, the animation shows us that infinity and beyond may actually be closer than we imagine – and the last place we would think to look.