Pablo Berger’s Academy Award-nominated animated feature, ‘Robot Dreams,’ is a sugary, animated confection that strives to tug at our heartstrings but ultimately seems to overstay its welcome with its extended sweetness. This film, based on Sara Varon’s 2007 graphic novel, delves into themes of urban solitude and companionship in a reimagined 1980s New York City. It is visually captivating but often overtly soppy and languid, making its feature-length format sometimes feel unjustified.
The protagonist of the tale is Dog, a lonely character residing in a cosy apartment in the East Village. Dog’s life is a mundane routine: frozen dinners, solitary games of Pong, and yearning glances at the vivacious cityscape surrounding him. His life takes a turn when he encounters a TV advertisement for the Amica 2000, a do-it-yourself robot buddy that promises to alleviate his solitude. Eager for companionship, Dog promptly orders one, catalyzing a burst of joy with his new amiable mechanical friend, Robot. Designed as a smaller, cuddlier version of The Iron Giant, Robot becomes an inseparable part of Dog’s life.
Berger’s reimagined New York brims with vibrant details, making the environment a visual feast. Similar to Disney’s ‘Zootopia’ yet infused with the nostalgic warmth of Saturday morning Cartoon Network essentials, the meticulous world-building stands out. However, its unique storytelling technique—relying solely on exclamations and pop song snippets in lieu of dialogues—leaves the narrative feeling somewhat malnourished.
The film’s central appeal lies in the silent, soulful bond between Dog and Robot. Their charming escapades, from roller-skating through Central Park to Earth, Wind & Fire’s “September” to underwater adventures along the coastline, are beautifully animated and accompanied by Alfonso de Vilallonga’s jubilant score. Yet, Berger’s decision to stretch these charming moments into prolonged sequences saps them of their intended effect, turning touching vignettes into overly drawn-out, syrupy scenes.
The plot takes a somber turn during a seaside trip when Robot becomes paralyzed on the sand. Dog, helpless and heartbroken, is unable to rescue his friend for months.
. This sets off a series of dream sequences that lend the film its Asimov-inspired title. Robot’s immobilized state is punctuated by imaginative and sometimes whimsical fantasies, such as a surreal liberation along the Yellow Brick Road amidst tap-dancing sunflowers. However, these artistic interludes often linger longer than necessary, disrupting the story’s pacing.
Initially, the film’s gentle pacing allows viewers to leisurely savor Berger’s meticulously designed world. But as the film progresses, its lack of urgency transforms this leisurely stroll into a slow trudge, revealing that ‘Robot Dreams’ might have been more impactful as a shorter feature. The repetitive nature of Dog and Robot’s separate mini-dramas compounds this sense of narrative stagnation.
Approaching the conclusion, Berger teases a reunion between Dog and Robot. However, by this point, the film’s earlier inertia dampens the emotional climax it attempts to reach. A tighter montage or a brisker pace might have infused energy into the middle sections, preventing the prolonged narrative from diluting the poignancy of the finale.
Despite these pacing challenges, ‘Robot Dreams’ maintains its charm through its sincere exploration of loneliness and friendship. These themes resonate with genuine empathy, yet they may appear too commonplace to compete with last year’s standout contenders for Best Animated Feature such as ‘The Boy and the Heron’ and ‘Spider-Man: Across the Spider-Verse.’ As a short film, ‘Robot Dreams’ could have had a stronger claim to an Oscar, saving a deserved spot for more compelling works like ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ or the highly underrated Japanese anime, ‘Blue Giant.’
Currently running in theatres, ‘Robot Dreams’ is a visual delight marked by tender moments and innovative storytelling. Nevertheless, its drawn-out sweetness is a double-edged sword, presenting both endearing charm and narrative sluggishness. For those captivated by whimsical animations and tales of companionship, Berger’s film offers a unique, albeit leisurely, experience.
