The first reaction is not good.

Not exactly bad, but rather unnerving.

Spinoza, who never saw a Pixar movie in his life, said that there is no hope without fear and no fear without hope.

One is a fickle joy and the other an equally capricious sadness.

And the reason is that both are born from the idea of ​​something future or past whose effectiveness we doubt.

With each new project of the founding house of

Toy Story it

happens that the hope of the arrival of a new prodigy is equivalent to the fear of a new



And it is difficult to assimilate the place outside this dilemma in which the creation of

Enrico Casarosa is found, the one who was the father of that sophisticated wonder called

The Moon


It is disconcerting, but one gets used to everything.


consciously moves away from the disruptive vocation of Pixar's best and most adult works.

Away from the lysergic abstraction of


or without lending itself to the metalinguistic games of


, the last two major works,

the proposal now consists of modulating the voice, tempering the gesture and forcing oneself to an exercise of tenderness

as universal as it is difficult to refute.

It would seem that the idea is to go for the clearest possible line and the most linear or recognizable argument imaginable.

And there the surprise and, to a certain extent, the disorientation.

Fear and hope at the same time.

Casarosa manages to, without renouncing the legacy and history of the firm for which he works, find his site that is at the same time everyone's site

Strictly speaking,


has no argument.

It's just myth.

As in the films cited in the previous paragraph, the


was practically irreproducible due to its complexity, twists and turns and lack of credibility (has someone really made a cartoon movie with the souls of purgatory and the jazz inspired by Alexander Calder mobiles? Yes, that happened), this time everything is transparent. It tells of the summer of a child on land and a monster in the water (or the other way around, depending on your point of view) who learns with effort and the help of friends to accept himself with his quirks and make others understand that his quirks (such as minor and undocumented foreigner) are no threat. Since long before

Beauty and the beast

are there.

It's called civilization.

It seems that Pixar has decided to change the pace and accommodate it to a more unanimous feeling.

Even drawing forgets edges and strange worlds to find

accommodation in an Arcadia as unreal as it is perfectly recognizable. The Liguria in which the film is set resorts to an Italy of sunshine, pink neorealism and pesto spaghetti that seems like the second home of any accidental tourist. Of course the house brand is there. Again, as in the tapes of the cowboy Woody, in

Monsters SA

or in


, to name the obvious, the world appears divided in two: on one side, human beings; on the other, the creatures that live at the bottom of the sea; and, in the middle, the necessary reconciliation of two supposedly irreconcilable universes.

Let's say that

Casarosa manages, without giving up the legacy and history of the firm for which he works, to find his site that is at the same time everyone's site.

Let's say that the surprise of the film consists of its explicit desire to offer as few surprises as possible.

Let's say that nostalgia for all childhood summers is the best way to fight fear with hope.

Let's say everything is said.

+ The prodigy on this occasion is responsible for all the forms of transformation that the contact of water admits-There comes a time when the body cannot bear even one more good feeling

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