Any individual with any spiritual practice knows that the devil is not as ugly as he is made out to be. Incorporations, ghosts, demons that take possession of human bodies and speak through their mouths exist, but are, in addition to being rare, phenomena that touch reality more in the light of the unconscious than the fantastic, the extraterrestrial or the evil per se self. Hyperphysical manifestations are often “just” a symptom of the collective hysteria that assaults us daily in real life, some more than others. When we realize this, there is nothing to do but surrender to the rapture of the daydream, whose power to evoke wonder rivals that of arousing emotions that have always been hidden, but longed for an opportunity to leave the dark entanglements in the soul and emerge to the surface. The moment such an event occurs, as terrifying as it is magical, it is as if a huge butterfly had finally freed itself from its cocoon and dominated the sky, which even seemed to exist only because of it.
Good and evil co-exist within each of us, and it is up to us to perform a sometimes milder, sometimes more arduous exercise in stifling this, so that the former emerges, although of course there are those who specialize in the opposite movement that gives vent to their instincts, but also to calculations and ideals that at first glance mimic the truth, even if they are nothing more than illusion or, worse, a strategy to reach obscure goals. When you laugh, manners are punished, according to the Latin maxim celebrated by the playwright Gil Vicente (1465-1536), the father of Portuguese theater and satire, and the American filmmaker Henry Selick, one of the greatest directors of stop motion animation. in activity. In “Wendell & Wild” (2022), his new work, Selick adds the excellence of technique to a sophisticated plot, full of allegories about the eternal need to make choices without affecting the dream, finality, grief, aesthetic ugliness and metaphysics. existence, while taking its toll on capitalism and religion.
The anti-heroine of the director’s script, co-written with Jordan Peele, the talent behind the outrageous “No! Don’t Look!” (2022), finds himself a victim of his inner demons after the death of his parents. It is clear that the argument that the girl blames herself for the tragedy is elaborated by Selick and Peele to make the audience suspect that Kat Elliot, voiced by Lyric Ross, is really responsible for the great misfortune in her life , an idea that gains strength as she goes in. that these evil geniuses get a place in the story. The computer graphics, combined with Keegan-Michael Keys and Peele’s charisma, bring Wendell and Wild to life, these two influences are as vicious on Kat’s personality as they are fun on the audience. With no other relatives, the girl attends the boarding school coordinated by her sister Helley, an obvious pun on “hell,” “hell,” in English—Selick’s growing fixation—which acquires a temperament marked by ambiguity in the reading of Angela Bassett, from far the most well constructed type in history.
From the second to the third act, “Wendell & Wild” takes even greater momentum to make clear Kat’s presence in the school, run by Father Bests, by James Hong, a seemingly anodyne figure in the plot that causes him to disappear, only to emerge, bigger and confident enough to show its malevolent intentions. This is the hook Selick used to include in his film the pair of tycoons who plan to buy the school with the intention of turning it into a prison. The two are the parents of Siobhan, Tamara Smart’s girl, black but with fair hair and eyes like theirs, embodying one of the major plot twists.
When she discovers herself as a maiden from Hell, capable of taking on creatures of the underworld toe-to-toe and even more bringing back to life those who are gone, Kat is faced with the most disturbing dilemma , who could attack her. resolved calmly by the director. As in almost every episode of “Love, Death & Robots” (2019), an anthology of animated shorts conceived by David Fincher and Tim Miller, “Wendell & Wild” highlights the importance of facing difficult issues of the human condition without allowing intimidation, which is only possible with humor. Even if it’s black.
Movie: Wendell & Wild
Direction: Henry Selick