hen a husband hurries off to work, a lonely Chinese wife finishes up her plate of steamed buns (or bao). As she pops the last one into her mouth, it suddenly sprouts little appendages and a face – and begins crying like a newborn baby. As if to fill a void in her life, she immediately treats it like her own child – caring for it, cuddling it, and feeding it. In a very short time, the tiny dumpling grows up, receiving notches on the wall to mark its increasing height, accompanying the woman during grocery shopping and while working out in the park, and even donning glasses as if for school. Eventually, it reaches adolescence, which causes it to go through typical troubles and angst, such as talking on the phone too much, hanging out with friends, and even bringing home a white girlfriend.

The dumpling is hilariously adorable, particularly as its diminutive features get squashed in various activities, requiring extra carrot-and-onion fillings to reform its misshapen features. Though overly stereotypical in design, as all the characters’ features are exaggerated, especially when it comes to slanted eyes that obscure expressions, the look generates exceptional cuteness and warmth. This Pixar production, written and directed by Chinese-Canadian animator Domee Shi (who gains the distinction of being the first woman to helm a Pixar short), is an incredibly creative take on empty nest syndrome, which follows the woes of a mother whose children have moved out of the house. Her second chance at nurturing a life is particularly amusing in its presentation here, which drifts between reality and fantasy, and without a clear time period or differentiation between her real son and the anthropomorphized bao. And once again, the picture is funny, emotional, and memorable, all without the use of words; the visuals speak volumes and are universal.

– Mike Massie