Pixar, when they’re not pumping out sequels, have provided an essential public service with their more existential fare. How do we grieve (2017’s Coco)? How do we make peace with our pain (2015’s Inside Out)? What does it mean to be alive (2020’s Soul)? It’s child psychotherapy for the price of a cinema ticket.
Hoppers breaches what, at this point, feels too prescient to ignore: the question of how not to be consumed by despair, even in our formative years. What’s a kid meant to do with all that rage against the machine inside their head? All this gloom is, of course, communicated via the fluffiest of stratagems: the North American beaver.
