Pixar’s penchant for life affirming messages holds firm for Soul.
They really do have this down to a fine art now as the world’s premier animation outlet, their ability to fine tune very clear conceptual ideas and frame them in the context of extraordinary worlds and scenarios. Soul, co-directed jointly by Pixar chief Pete Docter and writer Kemp Powers, focuses exclusively on the ephemeral without leaning too heavily into the spiritual. It frames the individual journey, the meaning of existence itself, through vivid representations of an ‘alien’ world. The animation here is truly outstanding, even for Pixar, combining the buoyant realism of New York with geometric shapes, childlike landscapes and glorious star scapes.
In this sense, it moves away from the quest narrative of Onward, which never quite reconciled its Weekend at Bernie’s central plot with the broad fantasy trappings of the story, and moves closer to the cartoonish depiction we saw in Inside Out. The souls of the ‘Great Before’ might look like the Adipose fat creatures from Doctor Who at points but they more adequately represent ‘pre-emotions’, blank slates on which life experience has yet to be etched, and Docter & Powers look to tell a story about what that experience, what life, can do to the soul, and what we really should place importance in.
By the end of Soul, there is no doubt this crystallises the traumatic experience of 2020 as an existential year, and is undoubtedly the reaffirmation we all needed as we leave it.
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