Pixar is chained to its formula

One of the theories that have tried to explain Pixar's creative slump is the proliferation of sequels in a company that, during its first and magnificent era, released nine original films and only one sequel (And which one: Toy Story 2). Starting in 2010—and in line with the current franchise hegemony of Hollywood—Pixar became a machine for exploiting nostalgia and extending sagas. They are too original. Elio, the fascination with space and the existence of extraterrestrial life are the refuge of a lonely orphan boy who makes his dream of being abducted by aliens come true, although he has to play the role of ambassador of the Earth in a kind of interplanetary UN (8 scientific optimism)ET, Explorers) are the obvious references of a film that, however, is chained to the studio's style book and that, from a certain point on, subordinates each phase of the story to the protagonist's process of emotional overcoming. In the lack of animation ambition – especially with regard to humans – and the irregularity of the rhythm, the scars of a turbulent and troubled production are evident, during which, in fact, the original director (Adrian Molina) resigned and Elio's personality was rewritten to erase any traces of queer.