‘Inside out 2’: little grace in the new emotions | Culture

We are going to repeat topics with a non-negotiable basis of truth. There was a cable television network called HBO that initially conceived series treated as works of art. What had been the exclusive heritage of great American cinema was transferred to series, built with the best scripts, stories, directors, performers, audacity, complexity, creativity. And now all that is over: It’s All Over Now, Baby Blue, that Dylan wrote and Van Morrison improved by interpreting it to sublime limits.

The same thing happened with Pixar, that wonderful factory that transformed the cartoon universe into an adult, more than intelligent, fun, moving universe. Sorry, it’s been called animated cinema for a long time. How beloved comics were transformed into comics, with the cultural, intellectual and prestigious aura that this implies. And wonders were born like Toy Story, Ratatouille, Finding Nemo, Monsters SA, Up… And so many others. Thanks to this admirable and revolutionary breed of creators, adults enjoyed what they told us even more than children.

The last happy memory I have of Pixar, before Disney (lizard, lizard) absorbed it is Reverse, although such philosophical and humanistic concepts appeared there analyzing the emotions of childhood such as joy, sadness, anger, fear and disgust. I fear that the last four remain in the lives of many people until old age. And blessed be the survival of joy. But the girl Riley is already a teenager. She plays ice hockey. She is thirteen trembling and insecure years old. New and transcendent things happen to her. Anxiety, envy, shame, nostalgia and boredom appear. And how to ensure that the cornered creature learns to live with or triumph over those fearful sensations?

The approach is attractive. Above all, commercially. Let’s squeeze the old success. It can even be enough for a saga. Like Marvel, the Apes, Batman, Lord of the Rings, Karate Kid, the holy mother of him. And Pete Docter, replacement for the brilliant John Lasseter, is behind the big business, but only as a producer.

And how does the story of that memorable girl who is becoming a woman go, with all the emotional problems that this transformation implies? And how do her new sensations work? Well, in a boring way for my declining taste. With absolute neatness in the images. In a monotonous way, without the capacity for surprise, knowing that the bet rests on a certainty, that the number of spectators is already predicted by the infallible calculator. And I only open my mouth, that execrable and rude gesture, when the projection is halfway through.

But I am fascinated by the continuous laughter in each shot of a spectator at the press screening I attend. And how envious I am of his attitude. I don’t know if that ancient ritual of the claque still exists in the theater. They were people who were paid to applaud continuously or at specific moments, to encourage the public with their well-paid enthusiasm. It was not exclusive to the theater. And I think that now it has an absolute role in the disgusting universe of politics. And yes, I have read, without anything catastrophic happening to me, although neither savior nor redeemer, an article that was titled Beware of the apolitical. And what are they going to do with us, so ignorant and selfish? It makes you want to reject nihilism and become an activist. With salary, of course.

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