Encanto (film) Puns

Luisa Madrigal is a positively presented character. She is kind, generous, and unselfish almost to a fault.

And despite these being positive things, and despite Luisa being a positive example of an MoC character in mainstream media, I think she represents a particular example of an ongoing problem.

I’ve not done a proper survey, but my unreliable memory’s sense of it, is that positive potrayls of MoC women, rare as they are, tend to present them as a lot like Luisa: entirely service oriented. Something of a female version of the selfless strong man. Think Fezzik, as played by André the Giant, in [The Princess Bride](https://en.wikipedia.org/wiki/The_Princess_Bride_(film)). Or, going back to MoC women characters, Susie Myerson, as portrayed by Alex Borstein, in The Marvelous Mrs Maisel.

Which, in a film that does have romantic goings on as a sub-plot, is frustrating, to put it mildly.

I’m entirely bisexual, so I wasn’t specifically frustrated at this MoC woman not having even a hint of a girlfriend. But my frustration was, if anything, worse: Luisa didn’t show even a hint of having a romantic inner life at all.

I’m not expecting a mainstream Disney film to pioneer the presentation of WLW MoC people. But what was done in this film — and what is done in other media with the same character stereotype isn’t just de-sexualising, it’s de-romanticising.^1

And this stereotype — the ‘unattractive’ woman who devotes herself to others (because, says the unspoken sub-text, no-one wants her) — is hurtful, damaging, and so very, very untrue.

FWIW, I still enjoyed the film: it’s a fairytale, but still has some worthwhile things to say about family and intergenerational trauma, especially given its intended audience includes young kids. It manages to get its simple but worthwhile message about trauma and healing across in an entirely primary-school-aged-kid-friendly way.

I watched the film with my entirely MoC partner, however. They are a fan of ‘light’ entertainment fare specifically because their real-world work gives them more than enough hard and gritty reality.^2

So I made a particular point, after the film was over, of reminding my partner of how much I want them, and how much I appreciate their particular and peculiar romanticism.

And I still want more media that treats being and presenting as MoC as just another way of being a person, rather t

I had to google the name again because thats how forgettable the film was for me and most likely by the end of the year I will not remember this film at all. I will say this however, the film looked amazing, the facial details and scenery were beautiful, but it felt so all over the place. We are given a whole family, but each of the members got only so little time to shine, I especially liked the girl who can hear everything and her verse in the Bruno song was so cool, but she only got one scene and that's it. The strong girl was shown all this pressure she is enduring, but in the rest of her scenes she is just crying bc she lost her gift? Then we get to see that Bruno was saving the whole house the past decade??? and the kid who can change into whoever he wants, idek his name, if he was not part of the movie, nothing would have changed. For me I wanted to see the family, more of the parents, more of the grandma putting pressure on everyone bc that felt like the main climax where the Grandma was just too hard on everyone about being perfect, and just maybe two to three scenes for every character for me to be attached to them.

It was much closer to a different novel “100 Years of Solitude,” and tonally more PG than either, but it’s probably the closest example of magical realism I can think of from Disney.

Themes like an “encanto,” a chrysalis-like world formed as a shelter from the outside made me think of 1Q84.

Anyways I rather enjoyed seeing a children’s film draw less from western fantasy and more from the sort of books I read. Wondering if anyone else here has seen it and noticed that

Raya- for obvious reasons

Moana is a stretch, but the connection is the Austronesian heritage. Some of the ancient myths of our culture have a connection to Polynesian myths. And the tattooing style is similar. Some Filipinos can connect to the overall islander lifestyle and scenery of the film.

Coco and Encanto- I saw so many similarities to our culture, probably even moreso than Raya. I felt like I was watching my family. We have similar traditions to Dia de los Muertos in "Coco." And we have the whole concept of "Engkanto"- which is related to the themes in Encanto

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https://preview.redd.it/pgrwwzaln3a81.png?width=929&format=png&auto=webp&s=0667f3c55690979d8ad622e22bf5e3e40b469cfd

https://preview.redd.it/g8gz9n2yad981.png?width=1933&format=png&auto=webp&s=9fec0c6a4f309e1998a880678ca53295facc1149

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These are the numbers for the Germany Box Office weekend from November 25th - November 28th . I originally wanted to post this last week but the post didn't get publically available, now i know how to be able to post this and so i decided to still post this even if it's a bit late. I will make a post about the numbers for the Germany Box Office weekend December 2nd - December 5th in the next few days.

Once again i calculated the US dollar grosses using a calculator and the official euro grosses, so these numbers, while not 100% correct, they should be somewhat accurate.

The Source is: https://www.insidekino.com/DTop10/21/DTop21NOV25.htm

1. Encanto - $742,779/ $ 817,491 New
2. No Time to Die - $621,780/ $71,602,703 -53.9% 9th weekend
3. Ghostbusters: Afterlife - $525,809/ $1,867,484 -53.7% 2nd weekend
4. Eternals - $410,432 / $8,526,233 -58.9% 4th weekend
5. Contra - $291,919/ $5,551,502 -52.6% 5th weekend
6. Resident Evil: Welcome to Racoon City - $282,419/ $298,464 263,801 New
7. Venom: Let there be Carnage - $243,278/ $11,686,829 -56.5% 6th weekend
8. School of Magical Animals - $207,347/ $10,829,887 -58.2% 7th weekend
9. Respect - $171,139/ $227,587 New
10. A Boy Called Christmas - $156,184/ $552,027 -45.2% 2nd weekend
11. Dune - $130,652/ $21,232,455 -47.8% 11th weekend
12. The Addams Family 2 - $115,639/ $534,337 -61.1% 2nd weekend
13. A la Carte: Freiheit geht durch den Magen - $92,014/ $158,695 New
14. Eiffel - $65,274/ $179,045 -9.2% 2nd weekend
15. The French Dispatch - $64,537/ $1,921,906 -47.7% 6th weekend
16. Last Night in Soho - $51,129/ $715,188 -68.1% 3rd weekend
17. Monster Family 2 - $50,014/ $1,427,980 -72.4% 4th weekend
18. Dear Thomas - $40,849/ $436,152 -60.5% 3rd weekend
19. The Gruffalo & The Gruffalo's Child Re-Release - $27,932 New?
20. Paw Patrol: The Movie - $24,524/ $11,904,077 -62.7% 15th weekend

The animation was gorgeous as is the standard for Disney )and Pixar too!). The world looked so vibrant and colorful just like Pixar’s Coco! And Lin-Manuel Miranda did a fantastic job with the soundtrack! It’s definitely a Top 5 WDAS film for me (Top 5 among 2010’s Disney Animation; not including 1990’s Disney)!

How it would rank among 2010’s WDAS films:

1. Zootopia

2. Moana

3. Frozen

4. Encanto

5. Frozen II

6. Tangled

7. Wreck-It Ralph

8. Big Hero 6

9. Ralph Breaks the Internet

Next on my bucket list is to watch Raya and the Last Dragon (which also came out in 2021 way back in March when many theaters were still closed so I never got to see it plus I wasn’t fully-vaccinated yet) and see how it compares to this, but for now Encanto will top Luca as the best animated film of 2021!

Encanto shows how past trauma like "war trauma" stays in the next generations of families.

When the generation affected by something traumatic returns home, they are charged forever. This was visible for example in societies of Europe after WW2. Soldiers came back home and became strict for their loved ones or became drunkards and this was passed down to their kids.

It's the same in Encanto. The grandmother is very strict and pushes away anyone who does not meet her expectations like Mirabel or Bruno.

This subject can be also relevant to current pandemic and what trauma it will leave on our society.

For those who don’t know one hundred years of solitude is a book written by a Columbian author, and it tells the story about the Buendia family, a family where magical events and the overall fantastiche are common events, that on itself is not exactly enough evidence but the things is about what the previous script for the movie was about, where the story would take place over a hundred years following multiple generations, now that’s very similar to the premise of the book, so I wonder if the creators knew about this book and got inspired by it but changed the plot to be more of its own unique thing

https://www.reddit.com/r/FanTheories/comments/rzhikf/encanto_theory_not_only_did_delores_actually_know/?utm_source=share&utm_medium=web2x&context=3

I relate so much with Bruno and Mirabel and watching the show really hurts me a lotlot.

https://www.youtube.com/watch?v=KYOGq9qwMZg

Pretty cool that a Rutgers alum Jessica Darrow voices one of main characters in new Disney movie. Her character is Luisa one of the buffest female protagonists.

I just wanna know no reason lol

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So in Disney's Encanto they are always saying "don't talk about Bruno" and in Luca they say silenzio Bruno. I think that Alberto says that because of Encanto. So Bruno's gift is to sea the future or something and the reason the don't talk about him cause he say something bad things that came to be right. So the reason Alberto says that is the Bruno in his head is Bruno from Encanto but hey that's a theory, a film theory thanks for reading.

Luisa Madrigal is a positively presented character. She is kind, generous, and unselfish almost to a fault.

And despite these being positive things, and despite Luisa being a positive example of an MoC character in mainstream media, I think she represents a particular example of an ongoing problem.

I’ve not done a proper survey, but my unreliable memory’s sense of it, is that positive potrayls of MoC women, rare as they are, tend to present them as a lot like Luisa: entirely service oriented. Something of a female version of the selfless strong man. Think Fezzik, as played by André the Giant, in [The Princess Bride](https://en.wikipedia.org/wiki/The_Princess_Bride_(film)). Or, going back to MoC women characters, Susie Myerson, as portrayed by Alex Borstein, in The Marvelous Mrs Maisel.

Which, in a film that does have romantic goings on as a sub-plot, is frustrating, to put it mildly.

I’m entirely bisexual, so I wasn’t specifically frustrated at this MoC woman not having even a hint of a girlfriend. But my frustration was, if anything, worse: Luisa didn’t show even a hint of having a romantic inner life at all.

I’m not expecting a mainstream Disney film to pioneer the presentation of WLW MoC people. But what was done in this film — and what is done in other media with the same character stereotype isn’t just de-sexualising, it’s de-romanticising.^1

And this stereotype — the ‘unattractive’ woman who devotes herself to others (because, says the unspoken sub-text, no-one wants her) — is hurtful, damaging, and so very, very untrue.

FWIW, I still enjoyed the film: it’s a fairytale, but still has some worthwhile things to say about family and intergenerational trauma, especially given its intended audience includes young kids. It manages to get its simple but worthwhile message about trauma and healing across in an entirely primary-school-aged-kid-friendly way.

I watched the film with my entirely MoC partner, however. They are a fan of ‘light’ entertainment fare specifically because their real-world work gives them more than enough hard and gritty reality.^2

So I made a particular point, after the film was over, of reminding my partner of how much I want them, and how much I appreciate their particular and peculiar romanticism.

And I still want more media that treats being and presenting as MoC as just another way of being a person, rather t