Encanto

Disney’s latest animated movie is not at all what I was expecting, as it focuses on the characters’ internal emotional arcs far more than any adventure or quest. Even the standout songs from Lin-Manuel Miranda’s soundtrack deal with the characters’ emotional and psychological journeys rather than any plot-based events.

Premise: Two generations ago, Abuela Alma Madrigal led a group of refugees fleeing war in Columbia to a hidden sanctuary, where she was gifted with a “miracle” – a magical candle and a sentient house – to protect her family and their new village. Over the years, the “miracle” has bestowed magical gifts on all of the Madrigal family members … until it’s Mirabel’s (Stephanie Beatriz) turn.

Review:

No one can accuse Encanto of playing it safe. Not only is it a film with an entirely Latinx main cast, but it also unashamedly celebrates its Columbian roots in everything from the animated costumes to the original songs written by composer superstar Lin-Manuel Miranda. But it’s far more daring than just that – not only does the main character Mirabel (voiced by Stephanie Beatriz) not have a comedy sidekick, but she arguably doesn’t even have a plot to hang her character’s emotional journey on.

This was a very unexpected decision on the part of the filmmakers, and one that initially took me quite by surprise. The opening section of the film does lead you to believe that this will be a familiar adventure/quest plot, with Mirabel having to go on a journey to uncover why the magic of the “miracle” that has protected her family and the village for the last two generations now appears to be fading. But this is all really just a smoke screen – there is no quest, there are no (explicit) answers provided for why the magic is fading, and the only journey Mirabel goes on is an emotional one.

“…the film is all about the various characters’ internal journeys…”

That’s not in any way to suggest that this is a bad thing, but it certainly was unexpected. There aren’t many Disney animated movies where the main character’s journey barely takes her beyond the front yard of her family’s house, and coming immediately after the epic fantasy adventure story in Raya and the Last Dragon only highlights how limited the physical scope of Encanto is in comparison. Equally, the last film co-directed by Jared Bush and Byron Howard was the excellent Zootropolis, which had a gripping and well-structured conspiracy-laced mystery at the heart of its plot, whereas Encanto barely has a plot at all in comparison.

Instead, Encanto is all about the various characters’ internal journeys, and arguably, Mirabel’s emotional journey isn’t even the main focus of the film. I don’t want to say too much more for fear of straying into spoiler territory, but Mirabel’s role in the film is arguably to facilitate the emotional growth of the other characters, rather than to go on an internal journey of her own. Without wanting to say too much, Mirabel’s emotional arc arguably centres around her developing a sense of her own self-worth as a result of enabling others to deal with their own emotional and psychological issues – making her arguably Disney’s first onscreen therapist.

“…Lin-Manuel Miranda’s original songs are the highlight of the film…”

Even Lin-Manuel Miranda’s original songs (which are certainly the highlight of the film and which have already gone on to have a life of their own outside of the film) are mainly focused on addressing the characters’ internal issues. For me, “Surface Pressure" and “What Else Can I Do?” are the two emotional highlights, although “The Family Madrigal" is an upbeat opening number, and the worldwide success of “We Don’t Talk About Bruno” speaks for itself in terms of how catchy that song is.

All in all, while Encanto may not be the film that anyone was expecting, it’s arguably all the better for it. Instead of providing just another version of a familiar adventure story, Encanto explores unexpected issues like transgenerational trauma and mental health, in a way that’s still accessible to even the youngest of viewers (while still giving them plenty to enjoy in terms of the vibrant visuals, a relatable protagonist, and a catchy soundtrack). There may be some who feel that the third act resolution feels oddly rushed and that the lack of any real “plot” leaves the film feeling quite unfocused at times, and to be honest, it’s hard to disagree with either of those observations. But it’s also impossible not to give Encanto credit for being such a bold swing for the fences, a highly original film that has shown that such a daring approach can pay off and make a real connection with audiences.