Film Name: 逗鸟外传：萌宝满天飞 / Storks
Sure enough, if the storks stop delivering babies, then no matter how large the company grows, how eye-catching the signboard becomes, or how impressive the performance gains are, it will ultimately lack vitality. The most moving moment in the film comes when all the storks return to wrapping the babies in the traditional way and fly together from their mountain base, carrying love to the world through their sense of responsibility. What a beautiful thing that is.
In contrast, the profit-obsessed boss who erected a colossal aerial billboard ultimately plunges to his demise alongside his own creation. The collapse of this iconic structure symbolizes the downfall of capitalist utilitarianism, replaced by a return to nature, to fundamentals, and to a workplace culture rooted in compassion—a return to the original spirit of labor. This may be the film’s most profound message.
The film radiates love and positivity. The stork and the mischievous girl Xiao Yu forge a friendship during the delivery of the baby. They come to understand each other through this new life, especially because both pour immense affection into this child—not their own, but someone else’s. They both feel a profound responsibility to protect this baby. This sense of duty is deeply moving.
Returning to the human side, an ordinary family of three reveals many realities faced by American households. Busy parents lack time for their child, even shifting blame when something happens to the child. Yet the film swiftly fosters a heartfelt connection between parents and child. As they begin to spend time together, life transforms from dull routine to joyful harmony, from mechanical tasks to playful adventure. In truth, connecting with their child is not merely another task on their to-do list—it is the very essence of life itself. As they savor every moment spent together, they are embracing the greatest happiness life has to offer.
Even the wolf pack and penguin guards radiate love. These affectionate “antagonists” do more than merely add exaggerated flair to the film; they anchor the entire story in an optimistic, uplifting atmosphere. If even the “villains” are so full of love, what excuse do we have not to inherit and pass on this love? The plot twist involving the stork who originally took in the little girl brings heartwarming joy. This figure, once ostracized and misunderstood, reveals himself to be so kind and loving.
Amidst such abundant affection, what significance do the boss’s petty workplace tricks or the sycophant pigeon’s minor schemes truly hold?
Many of the film’s emotions feel incredibly authentic. For instance, the scene where the stork and Xiao Yu are woken up in the middle of the night, only to wearily rock the child back to sleep—a scenario many families have likely experienced. Or the boy’s conversation with his dad—”I’ll probably only look up to you for another two years”—which elicits a knowing smile. Whose heartfelt words are these, really? Of course, the various workplace scenarios at the stork factory also leave audiences with a rich, satisfying flavor.
Another layer of authenticity reflects a distinct American educational philosophy: children often take initiative to pursue their dreams. The boy, wanting a little brother, writes directly to the stork factory and builds a ladder to welcome the stork. Though he ultimately accepts his father’s help, this level of self-reliance is less common in China. Chinese children are more accustomed to asking their parents for things. Little Yu wanted to return to her family, so she invented many machines herself—flying jetpacks and even airplanes. This educational philosophy of fostering independence can offer us many insights.
Regardless, when affection blossoms between friends, barriers dissolve. When love exists between spouses, a child is born—whether biologically their own or delivered by the stork. The factory’s machines for creating new life were inevitably unlocked, for the world is filled with love. The creation of love’s fruit requires no authorization.
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