Since 2008, Walt Disney Animation Studios has typically released a new, 3D computer-animated film around each Thanksgiving holiday. These films such as Wreck-It-Ralph (2012), Frozen (2013), and Moana (2016) are often well received and have re-established the studio’s identity as a major player within the animation industry after traditional, hand-drawn animation declined in popularity. The most recent of these movies to be theatrically distributed, Encanto (2021), is yet another gorgeous, poignant addition to the Disney canon. Like many other Disney films, Encanto is a fun, engaging story about love and acceptance that is supported by beautiful animation and a colorful cast of characters. However, while Encanto may feel similar to previous Disney material, it also successfully explores new territory and in doing so becomes enjoyable for more people to watch than just the normal Disney-loving crowd. These elements, which include a more contained story setting and possible queer coming-of-age interpretation, help the film feel constantly fresh and relevant. Some of Encanto does fall a bit flat, such as the songs and subsequent character development, but they are not enough to take away from the film’s strength as a whole. Encanto combines lively, less-chartered material with traditional Disney elements to create a quality animated film.
In typical Disney fashion, Encanto is a visual feast that bursts with color and gorgeous, fluid animation. Although other computer-animated films such as Coco (2017) and The Book of Life (2017) have explored similar Spanish-speaking settings, Encanto maintains a unique identity with its more pastel, less ominous color palette. These vivacious colors make Casita, the name of the magical house at the film’s center, feel welcoming and like a real home. Every room in Casita is impeccably decorated according to which character it belongs to, while the household’s exterior design manages to reflect the identity of all the primary characters but feel unified at the same time.
Encanto also brilliantly justifies the use of animation over live action. Because the plot requires Casita to be a character in its own right and appear genuinely alive, the house is given quirky animated movements that distinctly resemble human emotions and reactions. Casita’s constantly rumbling tiles feel like excited chattering, and the opening of drawers in one scene represents a playful shrug. The deterioration of Casita in the form of cracks in its walls and floors seem to imitate a person recoiling in pain. Animation allows audiences to suspend their disbelief enough to consider Casita as a living being. I imagine it would be more difficult for Casita to be brought to life in a live action film where the house is presented realistically and is obviously inanimate. Furthermore, only animation could succeed in presenting Casita’s movements as charming and playful; a live action film trying to replicate these quirky household movements would probably come off as soulless or haunted in the same vein as Poltergeist (1982).
In addition to Casita, Encanto benefits from a diverse collection of excellent characters. Mirabel Madrigal is a quickly lovable, easily sympathetic protagonist as the one family member to not receive a unique power from Casita. Mirabel is amusing to watch given her slightly scatterbrained nature, but her boundless energy and steadfast determination make her truly entertaining to root for. The character is bolstered by an excellent vocal performance on behalf of Stephanie Beatriz, who is largely known for her role as Rosa Diaz on the show Brooklyn Nine-Nine. Beatriz is a perfect fit for the role as her voice exudes an infectiously perky and sincere energy without becoming annoying. Luisa and Isabela, Mirabel’s sisters who are voiced by Jessica Darrow and Diane Guerrero respectively, help give the film some of its best moments. Luisa’s anxiety throughout the film makes her instantly relatable and it is hilarious to see her toss donkeys around with her super strength. It is mesmerizing to watch Isabela’s effortless grace and perfection, but it is even more fun to hate on her for how awfully she treats Mirabel. Maria Cecillia Botero, however, gives the true standout vocal performance of the film as Alma, the matriarch and grandmother of the Madrigal family. Botero’s voice provides immense depth to a proud character desperately clinging to what she has built, which might otherwise come off as unforgivable to some viewers without Botero’s talent.
Another positive aspect of Encanto is its contained story setting, which is a unique and interesting departure from other animated Disney films. Disney films often have their characters travel across various settings with the help of some friends to achieve their goal or obtain something important. Although this buddy adventure-like plot is not necessarily bad, its frequent usage has made recent Disney additions such as Raya and the Last Dragon (2021) and Frozen II (2019) feel homogenous and uncreative. Encanto immediately stands out given that Casita serves as the setting for almost the entire film. Some may argue that the setting is not perfectly contained since the house has magical rooms that feature various environments, but regardless, there is much less journeying involved in this film. As a result, viewers become more invested in the mission to save Casita because they have spent enough time inside it to observe how much it means to Mirabel and the Madrigal family. There is also a joy in seeing new areas revealed, such as Uncle Bruno’s crawl space, when the layout of the household was previously thought to be understood. But most importantly, the setting emphasizes an important message of the film: do not assume you understand others’ feelings. Characters such as Luisa and Isabela may appear to be open books, but they have hidden emotions and fears just like Casita’s unexplored corners and mysterious passageways.
Encanto also has a fascinating queer subtext that was interesting to see play out. While the Frozen franchise may have a legion of fans who claim Elsa is a lesbian, the coding feels more intentional and explicit in Encanto. Throughout the film I could not escape interpreting Mirabel’s experience as a “coming out” narrative. Unlike the rest of her family, Mirabel is unable to open her door and receive a power, a possible metaphor for being in the closet and not having the option to be oneself given family pressure. The tension between her and Alma, who sees Mirabel’s powerlessness as a constant reminder that the magic of Casita is failing, could resemble the difficulty older generations have accepting the existence of different sexual and gender identities. Lastly, the fractures and cracks in Casita could be seen as the strain hiding one’s sexuality causes on their well-being and family unity. The reconciliation between Alma and Mirabel thus would demonstrate that only through acceptance of one’s identity can these cracks be fixed and these relationships start to heal.
Despite all the praise I have for this film, I have a fairly large issue with its songs. None of the songs are noticeably awful, but they all feel largely redundant and bland when compared to the normal quality of Disney music. The powers of each family member are relentlessly and pointlessly hammered into viewers’ heads through the lyrics of several songs and I doubt that any member of the audience will remember a single tune. In addition, significant but sloppy character development occurs over the course of many musical numbers. It was jarring to see a character completely change after singing one unmemorable song. For example, Mirabel and Isabela go from being at one another’s throats to being amazing friends after they spend one musical number together. The songwriter, Lin-Manuel Miranda, has done much better work on other animated projects such as Moana, so it was especially surprising that the music for Encanto was so lackluster.
Some may find Encanto oversentimental, and it certainly has its faults, but nevertheless it is an incredibly well-made film that improves on previous Disney material and does a great job portraying interesting new subjects that should have been depicted long ago. It is my hope that other Disney films will follow Encanto’s lead and make use of computer animation’s unlimited potential to highlight underrepresented communities and cultures. More stories like Encanto deserve to be told.
Grade: A-
Do you agree or disagree with my thoughts on Encanto? What do you think of it compared to other animated Disney films? Let me know in the comments below, and see what other Disney films I’ve Recommended on my BingeRoom account!
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