We went to see Abominable. Most of the people who went to watch it have children, it is difficult to objectively judge from the parameters of film criticism a subjective experience as powerful as going to the movies with your child. That is to say, to write coldly and dispassionately about something that a little while before involved you in a way that led you to laugh and cry, and to end up curled up with the person you love most in the world, is a practice in itself a bit schizophrenic.
All this is enhanced when one sees Abominable, a film with all the ingredients of the traditional story, which is thought of as a fascinating journey of initiation, an emotional tour de force about how to cope with a duel, the story of an impossible friendship between a girl and a monster named Everest who seeks to return home, there on the highest point on Earth.
All that together is Abominable, with the dressing of four or five notable characters, which make it one of the animated films of the year, outside of what one expects from the predictable tanks of Pixar and Disney. Watch it now and experience this visual candy.
From the beginning, the film by Jill Culton and Todd Wilderman is presented as a fairy tale that portrays the state of alienation in which we live in the global village since the story takes place in Shanghai but could happen in Rio de Janeiro or Mexico City, it does not matter.
Thus we observe in the beginning the manic and vertiginous rhythm of the life of Yi, the protagonist girl of the story, that does not stop for a moment from when she gets up until she goes to sleep. Yi lives with her mother and grandmother and seems to never want to be in the place where she is as if the four walls of her house oppressed her and did not allow her to feel at ease.
Then, and as the story slows down (as if it were a good soccer player), we discover the causes of that unstoppable and denial momentum. Everest, on the other hand, flees from an evil scientist and a millionaire with little holes in her heart, and only wants to return home. In that unthinkable friendship, a strange paradox is concentrated: a girl who does not want to spend a moment in her house and a melancholic monster who only wants to return to hers.
Abominable is empowered as long as it is built as the search for an identity, and as in any good initiation movie that search process is carried out in the middle of the adventure. The most important things in life are those that happen while you are doing other things, and it is that invisible precept that follows the movie.
The moments of action, in which a precious and impeccable use of 3D prevails, are vertiginous from a frantic staging, and alternate with moments of unusual poetry in which we see or understand Yi's heart. Abominable is a film in which the good ones help each other to build themselves from that collective, because by emulating the eternal hero the hero here is collective.
Watching a movie with your child, and having such a good time, makes it difficult to be objective when it comes to measuring the quality of a film. But, making an immeasurable analytical effort, we consider that this childish look on the work, which speaks of a certain affective valuation over aesthetic values, is still a symptom of the reality of what this film generates. Watch it now to see how it ends.