Pablo Berger’s Academy Award-nominated film ‘Robot Dreams’ serves as a visually delightful, animated confection aiming to explore themes of loneliness and companionship in a reimagined 1980s New York City. While it impresses with its aesthetics, the film struggles with pacing, ultimately feeling more like an extended, syrupy tableau that overstays its welcome. The film is adapted from Sara Varon’s 2007 graphic novel and, while it brings some creative elements to life, the narrative is hampered by excessive sentimentality.
Set in the cozy yet lonely life of Dog, the film’s protagonist, ‘Robot Dreams’ introduces us to a character trapped in a monotonous routine of frozen dinners, solo games of Pong, and wistful gazes at the bustling city around him. The melancholy of his existence is disrupted when he sees a TV advertisement for the Amica 2000, promising companionship in the form of a do-it-yourself robot buddy. The arrival of Robot marks the beginning of a newfound, albeit brief, joy for Dog. Robot, an amiable machine resembling a smaller and cuddlier version of The Iron Giant, becomes an integral part of Dog’s life, and their companionship blossoms in a visually vibrant 1980s New York City.
Berger’s rendition of New York, populated with anthropomorphic beings, draws comparisons to Disney’s Zootopia but retains a charm reminiscent of Saturday morning cartoons. This fauna-fused metropolis is an eye-catching spectacle and showcases impeccable world-building. However, the film’s choice to forego dialogue in favor of exclamations and pop song snippets sometimes leaves the narrative feeling underdeveloped.
The core of ‘Robot Dreams’ is the silent bond between Dog and Robot. Their adventures—roller-skating through Central Park to the vibrant tune of Earth, Wind & Fire’s “September” and exploring the coastline—are animated with an infectious cheer, thanks to Alfonso de Vilallonga’s uplifting score. However, Berger’s decision to extend these joyful moments into prolonged sequences dilutes their intended charm. What should be touching vignettes transform into drawn-out, syrupy scenes that verge on tedium.
The film takes a sorrowful turn during a seaside trip when Robot becomes paralyzed on the sandy beach. Unable to rescue his metallic friend, Dog is left heartbroken and alone once more.
. This pivotal moment ushers in a series of dream sequences that give the film its Asimovian title. Robot’s immobilized state prompts fourth-wall-breaking fantasies that are imaginative—such as dreaming of liberation along the Yellow Brick Road amidst a sea of tap-dancing sunflowers. While these dreamscapes are visually inventive, they linger too long, contributing further to the film’s sluggish pacing.
Berger’s meticulous world of animated solitude is initially engaging, a leisurely stroll through his sumptuous visuals. But as the film progresses, the lack of narrative urgency turns this leisurely pace into a trudge. The repetitiveness of Dog and Robot’s individual struggles exacerbates this sense of stasis, making ‘Robot Dreams’ feel like it would have been better suited as a concise short film rather than a full-length feature.
When the film finally approaches a potential reunion between Dog and Robot, the emotional impact falls flat due to the desultory middle portion. Had Berger opted for a more brisk, lively pacing or a tighter montage, the film’s climax could have delivered a more powerful emotional punch. Instead, the extended sequences dilute the poignancy of the final moments, leaving the audience somewhat unmoved.
Despite these pacing issues, ‘Robot Dreams’ does have its share of charms. The film’s heartfelt exploration of loneliness and friendship stems from a genuine sense of empathy. However, these themes, while emotionally resonant, lack the depth and novelty to set the film apart from last year’s stiff competition for Best Animated Feature, such as ‘The Boy and the Heron’ and ‘Spider-Man: Across the Spider-Verse.’ In its current form, ‘Robot Dreams’ may have fared better as a vibrant short film, potentially earning an Oscar nomination without overshadowing other deserving features like ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ or the underrated Japanese anime, ‘Blue Giant.’
In summary, ‘Robot Dreams’ is a film with a lot of heart and visual allure, but its inability to maintain a brisk, engaging pace leaves it feeling somewhat overwrought. As it currently stands, the film is a testament to the importance of narrative economy in animation, proving that sometimes, less truly is more. ‘Robot Dreams’ is now showing in theaters, inviting audiences to immerse themselves in its sweet, yet slightly bloated, world of animated companionship.
