The idea of making a film in which the meaning of the songs is revealed through the visual series and the visual is emotionally perceived through the songs was brilliant. And it was brilliantly implemented. It doesn’t matter if you like rock or Pink Floyd. The only thing that matters is whether the soundtrack and the picture are in harmony. It may be remembered that silent cinema is usually accompanied by a piano, but we do not ask whether someone likes the piano or not. That's the style.
The “Wall” is interesting for its emotional presentation. Art, by its very nature, appeals to emotions. There is no traditional story or relationship between the characters. The plot is secondary. The emotional response is primary. The film takes a look at the modern creators of the world and the man in it. And that view is pretty pessimistic. The world is routinely cruel, indifferent, full of alienation and loneliness. The film came out tearful and depressing. It aestheticizes despair and depression, not in order to savor, but to achieve that very tear. The Wall features some of the most dramatic anti-war footage I have ever seen. Unfortunately, in the last third, the tape slows down and begins to slip.
Of course, the film is partially outdated and looks like history. Music has changed, some problems have gone, others have appeared, and others are likely to remain for a very long time. Therefore, the pain of the problems of the 80s can be felt in decades.