ENCANTO: FILM REVIEW
Hidden in the Colombian Andes is a family with abilities like no other. After fleeing from armed conflict, the matriarch of the family, Abuela Alma (voiced by Colombian actress María Cecilia Botero), is blessed with a magical candle that provides them refuge from the conflict and gives each descendant of the family a magical power that they can use to help grow the community. In stark contrast to its darker aspects regarding Columbia and trauma, Byron Howard and Jared Bush’s Encanto paints a beautiful picture of the strength of community and familial bonds within Colombia, weaving in mythicality and wonder.
The protagonist, Mirabel (Stephanie Beatriz), is not gifted a power and has to deal with the weight of not being able to contribute to her community. Not only is she made to feel like a disappointment to her overbearing family members, but she is also a sign to the family that they are not completely safe. The pressure that Mirabel feels is intensely relatable to any person who has ever felt that they are held to expectations that they cannot reach. While one initially laughs at Mirabel’s attempts to compensate for the fact that she lacks magical powers, the film takes the viewer on a rollercoaster as her desperation mounts and her cries for help are unanswered.
The conflict begins when the magical Casita starts to show cracks, and in her fear of losing her family’s safety, Abuela Alba doubles down on her crushingly high expectations of the family. Various catchy songs about worries and anxieties then follow, with problems always cleaned up just in time for Abuela Alma to arrive and blame Mirabel. Faced with these expectations and the knowledge that her family’s magic is faltering, Mirabel is tasked to not only save the family from the potential loss of magic but also to find acceptance for who she is.
This movie tells a story that everyone can relate to, from being the odd one out to craving love and acceptance from your family rather than having their hopes and dreams imposed onto you. However, these relatable tropes are presented in unique ways.
Colombia bleeds through every aspect of this film — from the obvious inspiration of Gabriel Garcia Marquez’s conceptions of magical realism, personified by the yellow butterflies from his landmark novel One Hundred Years of Solitude, to the important roles played by Colombian and Latinx voice actors and musicians. The creators did their research on the visual cues, from the marked diversity and colorful architecture in the town, the Colombian landscape is on full display.
While not being set in a specific tradition or cultural moment in the way that Coco was in Dia de Los Muertos, Encanto envelopes itself in subtle cultural artifacts. The movie’s designs pay close attention to Colombian fashion, featuring the typical ponchos (ruanas) and cumbia dresses, as well as the iconic sombrero vueltiao. The flora and fauna are all accurate to the country as well: the jaguar, toucan, capybara, tapir, and coati, as well as the arepas, buñuelos, and ajiaco that they eat. Even the music features instruments prominent in Colombian music such as the accordion and tiple, a unique 12-stringed guitar.
This film is a love letter to Colombian culture, food, and land. It provides a story unlike that which prevails in the media — turning eyes away from the infamous drugs and violence to the diversity of experiences and beauty in the country. In this age of multicultural films coming out of Disney, Encanto provides another breath of fresh air and a positive depiction of a culture and country that often does not receive the portrayals it deserves.