The film starts in the year 2700, having as main scenario our planet, basically uninhabited. It presents itself as a large garbage dump, in which the main character of the film, Wall-e (Waste Allocation Load Lifters - Earth), works to compact and organize all this rubble, alone, since his professional companions are already spoiled. So he and his pet cockroach are the only inhabitants of that gray planet.
Wall-e, like other robots, were sent to Earth by the company BNL to perform this service. Meanwhile, human beings protect themselves from all the toxicity of our planet on the Axiom space station. The plan was that they would only stay there for five years, waiting for the completion of such work to return to our planet; but they end up staying for about 700 years. To check if the Earth is already habitable, the company sends robots there, one of which is Eva (Alien Vegetation Examiner), who will fall in love with the main character (and vice versa).
It takes almost 40 minutes to appear the first human called normal, in 3D animation, and what you see is that the biped race is accommodated, all obese, sitting, being served by machines, hostages of technology and the inherent vices to be always connected. Behavioral criticism is evident, and all paranoia of humans with possibilities of contamination due to the planet or even Wall E is the simple and best example of how stuck the routine of doing nothing they are. There are two demarcations that demonstrate the criticism of Stanton's script, Jim Reardon based on the argument of the director himself and Pete Docter, who is the beginning of the film, showing the planet taken from plastic, paper and dirt in general, and also the super screens that entertains and distracts obese men, who do nothing but eat and spend their time shopping or watching some silly and futile show.
WALL · E has one of the most critical messages to society made in a Pixar film, perhaps on par with Up - Altas Aventuras. With a script of minimal dialogues and quite dense concepts such as ideology, axiom (which is the name of the ship), mass culture and alienation, especially in favor of the media + machines, the film puts humanity at a limit that does not seem to us like so impossible, distant, unreal. If we take away the great scope of futuristic technology that marks the feature, including in its visual and conceptual references to films of the genre such as 2001: A Space Odyssey (1968) and Plant of the Apes (1968), it is possible to see its raw material in our time, from the rampant and irresponsible production of garbage, as well as pollution, fires and other environmental disasters caused by human action; from the criticism of the criticism of the media to a complete alienation through a screen or an information bulletin; unhealthy inactivity; growing consumption; the distance between generations; the greater difficulty in making and maintaining human ties.
The film discreetly criticizes the methods of advertising and the impact it has on people, who begin to buy products without the slightest need. Another reflection that the film exhibits is the issue of individualism. Individualism can be considered a way to avoid the problems experienced in this period, but it causes the distance between people and generations. Today, we can see some similarities, can't we? The space between people is getting bigger and bigger. In the past, the forms of interaction were more intense. The distance is the result of the accelerated growth of cities, of mass communication vehicles that dictate rules of consumption and the use of new technologies in an unbridled way. Wall-E shows us that it is necessary to relearn how to use technology and to know how to manage time efficiently and intelligently, without leaving it dependent on us and slaves, providing more and more new spoiled generations who are more and more accustomed to having "everything in the hand with a simple snap of the fingers, guided by immediacy and by giving more value to digital relationships than face-to-face ones.
Pixar's already famous self-references and full approximation with creations from our world, such as Isaac Asimov's laws of robotics that all robots in the film obey; Stephen Hawking's voice as a building parameter for AUTO; basic models of Spanish architecture Santiago Calatrava; NASA projects and numerous references to Apple (Steve Jobs was involved in the beginning of the project and is credited with the thanks for the feature) make WALL·E a whole ocean of creativity, one of those movies that you watch with great pleasure and end the session definitely more passionate about life and cinema. There are few scientific fictions that have such a tender history and such a great civilizing greatness - starting from a text with a small number of words -, starting at a point without hope and beginning to rebuild a world; the resumption of humanity, spoiled by itself, generations before. The question that doesn't stop is: are we following the same path?
And all of this becomes even more impressive when we realize that Wall-E is almost a silent film. Its first part, with harmonious and romantic photography, is marked only by the noises and sounds of a polluted and uninhabited environment. The second part, already in the Axiom nave with its strong contrast photography (in various color palettes) but predominantly sterile, has some computer voices and few human voices, but never to the point of becoming strongly relevant in the story, which is sustained by friendliness of the two protagonist robots.
Director Andrew Stanton has always said in interviews that the central theme of WALL · E is love and his ability to win everything, including programming. Try to see that statement as widely as possible. From love to a romantic couple to the love of life. From robotics programming to ideological programming, both broken by the encounter of something so powerful that it can only be fully explained, in the film, by scenes from the musical Hello, Dolly! (1969), a moment of joy, love, music and dance amid loneliness and abandonment. The humanized details of WALL · E's "home", his pet cockroach, the little plant inside his boot and the collection of human objects such as cutlery, magic cube, K7 tape (reproducing Put On Your Sunday Clothes, It Only Takes a Moment and La Vie en Rose) among many others, amplify the contrast between the two moments of the film, from its sentimental load to its lesson in citizenship and humanitarianism. Showing some scenes with real actors - a novelty among Pixar's productions - and maintaining the very high graphic quality of its animations, the ship's division with different configuration, details, lighting and colors (simulating small spaces in Las Vegas, Shanghai, Dubai and conceptual arts made for Tomorrowland) until taken from space and Earth, the film brings us so much to pay attention, observe and absorb that only one session is not possible to check it as it should.
There are several scenes that impress, especially those located in space. One in particular deserves to be highlighted: the ballet of Wall-E and Eva, when they have fun flying outside the ship. It is a magical scene, due to the precise combination of visual and emotional beauty. At this point the film has already changed its history a lot, bringing to light what happened to the humans who left the Earth. And here comes another great idea from Pixar, with a critical analysis of modern society. Again, surprising. If Wall-E could be defined with just one word, perhaps the ideal would be grace. And if the ending sounds a bit obvious and predictable, we're already sufficiently captivated by this character and his universe to come to the happy conclusion that sometimes the obvious well done is exactly what we want. And if that's not enough, then there's that beautiful sequence of end credits, a real art history class, starting with cave paintings and moving on to Atari-style digital graphics. Geniuses.
Can you imagine a story capable of provoking the most varied range of reactions possible in the viewer? Well then, so is Wall-E. At the beginning the scenario causes melancholy, then arouses curiosity, then comes interest, grace, laughter, sadness, tension, magic, suspense, fear, danger, regret, surprise, humor. , passion, tears, satisfaction, guilt, remorse, enthusiasm, excitement, love. Everything is there, mixed and arranged according to the precision of the gaze of those who observe here, knowing that that second chance may be something that we ourselves are not entitled to if we continue to ignore the universe around us.
Wall-E is flawless in every way. There is a strong and relevant message to be transmitted, combined with a visual of great impact and with absurdly captivating characters - Wall-E and Eva are, from now on, the best couple in modern cinema! No matter what you read, this is a story that will always provoke new reflection. First-rate entertainment, respect for our intelligence and a product that can go beyond the obvious, by dealing with simple topics with wisdom and competence. There are films that bring about changes in society, raise questions and cause controversy. This, on the other hand, takes a step forward.
Wall-e, like other robots, were sent to Earth by the company BNL to perform this service. Meanwhile, human beings protect themselves from all the toxicity of our planet on the Axiom space station. The plan was that they would only stay there for five years, waiting for the completion of such work to return to our planet; but they end up staying for about 700 years. To check if the Earth is already habitable, the company sends robots there, one of which is Eva (Alien Vegetation Examiner), who will fall in love with the main character (and vice versa).
It takes almost 40 minutes to appear the first human called normal, in 3D animation, and what you see is that the biped race is accommodated, all obese, sitting, being served by machines, hostages of technology and the inherent vices to be always connected. Behavioral criticism is evident, and all paranoia of humans with possibilities of contamination due to the planet or even Wall E is the simple and best example of how stuck the routine of doing nothing they are. There are two demarcations that demonstrate the criticism of Stanton's script, Jim Reardon based on the argument of the director himself and Pete Docter, who is the beginning of the film, showing the planet taken from plastic, paper and dirt in general, and also the super screens that entertains and distracts obese men, who do nothing but eat and spend their time shopping or watching some silly and futile show.
WALL · E has one of the most critical messages to society made in a Pixar film, perhaps on par with Up - Altas Aventuras. With a script of minimal dialogues and quite dense concepts such as ideology, axiom (which is the name of the ship), mass culture and alienation, especially in favor of the media + machines, the film puts humanity at a limit that does not seem to us like so impossible, distant, unreal. If we take away the great scope of futuristic technology that marks the feature, including in its visual and conceptual references to films of the genre such as 2001: A Space Odyssey (1968) and Plant of the Apes (1968), it is possible to see its raw material in our time, from the rampant and irresponsible production of garbage, as well as pollution, fires and other environmental disasters caused by human action; from the criticism of the criticism of the media to a complete alienation through a screen or an information bulletin; unhealthy inactivity; growing consumption; the distance between generations; the greater difficulty in making and maintaining human ties.
The film discreetly criticizes the methods of advertising and the impact it has on people, who begin to buy products without the slightest need. Another reflection that the film exhibits is the issue of individualism. Individualism can be considered a way to avoid the problems experienced in this period, but it causes the distance between people and generations. Today, we can see some similarities, can't we? The space between people is getting bigger and bigger. In the past, the forms of interaction were more intense. The distance is the result of the accelerated growth of cities, of mass communication vehicles that dictate rules of consumption and the use of new technologies in an unbridled way. Wall-E shows us that it is necessary to relearn how to use technology and to know how to manage time efficiently and intelligently, without leaving it dependent on us and slaves, providing more and more new spoiled generations who are more and more accustomed to having "everything in the hand with a simple snap of the fingers, guided by immediacy and by giving more value to digital relationships than face-to-face ones.
Pixar's already famous self-references and full approximation with creations from our world, such as Isaac Asimov's laws of robotics that all robots in the film obey; Stephen Hawking's voice as a building parameter for AUTO; basic models of Spanish architecture Santiago Calatrava; NASA projects and numerous references to Apple (Steve Jobs was involved in the beginning of the project and is credited with the thanks for the feature) make WALL·E a whole ocean of creativity, one of those movies that you watch with great pleasure and end the session definitely more passionate about life and cinema. There are few scientific fictions that have such a tender history and such a great civilizing greatness - starting from a text with a small number of words -, starting at a point without hope and beginning to rebuild a world; the resumption of humanity, spoiled by itself, generations before. The question that doesn't stop is: are we following the same path?
And all of this becomes even more impressive when we realize that Wall-E is almost a silent film. Its first part, with harmonious and romantic photography, is marked only by the noises and sounds of a polluted and uninhabited environment. The second part, already in the Axiom nave with its strong contrast photography (in various color palettes) but predominantly sterile, has some computer voices and few human voices, but never to the point of becoming strongly relevant in the story, which is sustained by friendliness of the two protagonist robots.
Director Andrew Stanton has always said in interviews that the central theme of WALL · E is love and his ability to win everything, including programming. Try to see that statement as widely as possible. From love to a romantic couple to the love of life. From robotics programming to ideological programming, both broken by the encounter of something so powerful that it can only be fully explained, in the film, by scenes from the musical Hello, Dolly! (1969), a moment of joy, love, music and dance amid loneliness and abandonment. The humanized details of WALL · E's "home", his pet cockroach, the little plant inside his boot and the collection of human objects such as cutlery, magic cube, K7 tape (reproducing Put On Your Sunday Clothes, It Only Takes a Moment and La Vie en Rose) among many others, amplify the contrast between the two moments of the film, from its sentimental load to its lesson in citizenship and humanitarianism. Showing some scenes with real actors - a novelty among Pixar's productions - and maintaining the very high graphic quality of its animations, the ship's division with different configuration, details, lighting and colors (simulating small spaces in Las Vegas, Shanghai, Dubai and conceptual arts made for Tomorrowland) until taken from space and Earth, the film brings us so much to pay attention, observe and absorb that only one session is not possible to check it as it should.
There are several scenes that impress, especially those located in space. One in particular deserves to be highlighted: the ballet of Wall-E and Eva, when they have fun flying outside the ship. It is a magical scene, due to the precise combination of visual and emotional beauty. At this point the film has already changed its history a lot, bringing to light what happened to the humans who left the Earth. And here comes another great idea from Pixar, with a critical analysis of modern society. Again, surprising. If Wall-E could be defined with just one word, perhaps the ideal would be grace. And if the ending sounds a bit obvious and predictable, we're already sufficiently captivated by this character and his universe to come to the happy conclusion that sometimes the obvious well done is exactly what we want. And if that's not enough, then there's that beautiful sequence of end credits, a real art history class, starting with cave paintings and moving on to Atari-style digital graphics. Geniuses.
Can you imagine a story capable of provoking the most varied range of reactions possible in the viewer? Well then, so is Wall-E. At the beginning the scenario causes melancholy, then arouses curiosity, then comes interest, grace, laughter, sadness, tension, magic, suspense, fear, danger, regret, surprise, humor. , passion, tears, satisfaction, guilt, remorse, enthusiasm, excitement, love. Everything is there, mixed and arranged according to the precision of the gaze of those who observe here, knowing that that second chance may be something that we ourselves are not entitled to if we continue to ignore the universe around us.
Wall-E is flawless in every way. There is a strong and relevant message to be transmitted, combined with a visual of great impact and with absurdly captivating characters - Wall-E and Eva are, from now on, the best couple in modern cinema! No matter what you read, this is a story that will always provoke new reflection. First-rate entertainment, respect for our intelligence and a product that can go beyond the obvious, by dealing with simple topics with wisdom and competence. There are films that bring about changes in society, raise questions and cause controversy. This, on the other hand, takes a step forward.