Who are also literalised, as color-coded humanoids made out of quantum particles that you can just barely see in close-ups as a mottled, almost fuzzy surface of tiny floating spheres.
Specifically, it's a metaphor about the processes of human memory and emotions in a time of extreme stress both environmental (moving to a new city) and biological (doing so at the very earliest years of adolescence), setting up shop in the mind of an 11-year-old girl named Riley (Kaitlyn Dias) and literalising the concepts of cognitive theory as physical spaces for the adventures had by her five core emotions: Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Mindy Kaling), and Fear (Bill Hader). Surely, it's the most ambitious film in the studio's history: it's a feature-length metaphor, after all, which isn't something for the squeamish. Regardless, it's Pixar's most effective and most moving feature since the six-year-old Up, and while I think the "Pixar's best!" chatter that you can find here and there is premature, it's very easy to see why somebody would want to promote that opinion.
INSIDE OUT THE MOVIE FULL
The driving conflict is "there's a ticking clock and we have to get back before it runs out", or basically the third act that's always the most uninteresting part of Pixar movies stretched out to the full length of the 94-minute film Most of the characters are literally concepts rather than psychological actors in their own right.
It's a feature-length metaphor, in which everything we're watching as the story isn't "actually" be happening, possibly not even within the world of the film. The first thing to point out, because it's really amazing the more you think about it, it's a miracle that Pixar Animation Studios' 15th feature, Inside Out, functions at all.
0 kommentar(er)
