Disney has always expertly included subtle messages that strike adult viewers as much as, if not more, than their young audiences, and Encanto is no exception. The Madrigal family and their home are, as the title suggests, magical – their powers, which include Luisa’s superhuman strength (Jessica Darrow), Dolores’ ability to hear a pin drop from a mile away (Adassa), and the unmentionable Bruno’s power of prophecy (John Leguizamo) – rely on the constantly lit candle in their home. It falls to our protagonist Mirabel (Stephanie Beatriz), the only member of the family with no gift, to seal the cracks and keep the fire burning, both literally and figuratively.
Many of the positive elements of Encanto were somewhat predictable, including a captivating soundtrack and beautiful animation of the Colombian surroundings, thanks to Disney’s and Lin Manuel Miranda’s glowing repertoires. After Antonio (Ravi Cabot-Conyers), the youngest in the family, comes of age and discovers his gift to communicate with animals, he traverses a colourful and meticulously detailed jungle scene which creates an escapism for the viewer that could make any adult feel like a kid again.
That said, it is the unique elements of Encanto in comparison to the tens of other Disney films that make it stand out. Seeing the plot unravel from the perspective of the non-gifted, seemingly “weaker” Mirabel is a refreshing change from the heroes and heroines that we are used to. The struggle she faces is not living up to the high expectations that people hold for a princess, but rather the opposite – trying to prove herself as capable and helpful to a family who seem to have no faith in her. To us, she does not seem like a burden, but rather seems hardworking and determined when the odds are stacked against her. This resonates with audiences young and old more than any royal or magical lead would.
The diverse looks and personalities of the family, specifically Mirabel and her two sisters Luisa and Isabela (Diane Guerrero), has been another big talking point of the film. It highlights a shift in audience preferences from traditionally pretty, petite, perfect characters like Isabela, to those who are refreshing, and certainly more representative. In this case, it is the tough, super-hardworking, yet anxious Luisa that has resonated with audiences. According to Inside The Magic, Animators had to “fight tooth and nail” to depict her with a bigger and more muscular build, and thank goodness they did. Luisa is exactly what young girls need to see, and this combined with the diverse personalities of all the characters and the South American setting, it is a promising turn for Disney in terms of representation and diversity.
The Colombian backdrop allows for another particularly unique element of the film to exist: the absence of a villain. We learn relatively quickly that Bruno is not, in reality, at fault for any of the family’s issues. Abuela, the grandmother and matriarch, seems to subject the family to undue pressure and expectations of perfection throughout, and at times did seem close to villainous. It takes us longer to learn about her motivations, the “unknown forces” that resulted in the death of her husband, and shaped her determination to keep the family together and maintain a perfect front at all times. In this sense, we see a very real, culturally specific parallel drawn between the film and real life – arguably, the closest thing to a genuine “villain” is not Abuela or any other character, but is rather the resultant generational trauma of the colonisation that has the characters speaking Spanish today. Encanto reflects the realities of many, and it is that, that makes it such a rich tale that will undoubtedly resonate with audiences of all ages, across the globe.
5/5