Why Encanto Is Disney's Best Movie in Years

Why Encanto Is Disney's Best Movie in Years

Welcome to MsMojo, and today we’re discussing why “Encanto” is Disney’s best movie in years.

For this essay, we’ll be looking at how Disney’s 60th animated feature evolves the studio’s craft and storytelling while still remaining faithful to their roots, resulting in one of their most significant films to date.

Where would you rank “Encanto” in the Disney library? Let us know in the comments!

From King Candy, to Prince Hans, to Dawn Bellwether, Disney has been leaning heavily into surprise villains lately. While this can be effective, the twist villain trope has been used so many times that it’s not really a twist anymore. We expected that “Encanto” might pull the rug out from under us well, but the film thankfully doesn’t have a villain. Well, at least not a physical one. Grief, denial, and pressure are the true antagonists, slowly causing the cracks in the Madrigal household to surface. This aligns closer with Pixar, which has proven it to be a successful story model for decades. Like “Inside Out” and “Soul,” the conflict is mainly internal, which can be just as fascinating as an external one.

In addition to learning from Pixar, “Encanto” builds upon themes from other modern Disney films. Namely, it takes Disney’s exploration of sibling dynamics to the next level. “Lilo & Stitch” and “Frozen” both told touching stories with siblings at the center. In both cases, though, the sisters were often at odds with one another until finally reconciling in the end. There’s something truly endearing about seeing Mirabel give the overexerted Luisa a hug early in the picture. Then, instead of slamming a door in her face, Luisa hugs her youngest sister back. That isn’t to say there isn’t some sibling rivalry. Initially, Mirabel resents Isabela for being so “perfect” while Isabela looks down on Mirabel. Their relationship proves more layered than anticipated, however.

As much as Mirabel envies her sister, she finds that Isabela is being pressured to make a great sacrifice for the family. To a certain extent, Isabela might be happier if she was like Mirabel, who has no powers and thus less responsibility. By finally letting Mirabel in, Isabela sees just how extraordinary her gift is and how it can be used for more than one thing. Where a song like “Do You Want to Build a Snowman?” sees a sister relationship falling apart, “What Else Can I Do?” sees two sisters lifting each other up. We’ve waited a long time for a Disney duet that strikes this chord. It’s just one of the many ways that “Encanto” evolves Disney character types.

Some Disney heroines have been criticized for being too perfect, which isn’t entirely fair. Ariel can be naive, Mulan can be awkward, and Tiana is a workaholic. Flaws are part of what makes a character interesting. Still, their more desirable attributes largely overshadow their weaknesses. In a more traditional Disney film, the protagonist would be Isabela, the perfect princess who we’d all like to be. Nobody’s perfect, though, and through Isabela, we see how the pursuit of perceived perfection can actually hold one back from reaching their full potential.

While Isabela plays an essential role, “Encanto” never forgets that this is Mirabel’s story. Many modern Disney heroines are burdened with powers, be it magic hair, ice magic, or a connection to water. Sure, Anna is a normal, relatable, slightly clumsy heroine, but she’s arguably the secondary heroine after Elsa. “Encanto” belongs to Mirabel, who succeeds despite and because of her shortcomings. Without any powers, she solves the central mystery, brings her family together, and saves the miracle. Aside from proving that you don’t need a gift to be special, Mirabel shows the other Madrigals that they’re more than just their gift. Plus, having a Disney heroine with glasses means a great deal to anyone who may be self-conscious (young or not-so-young) about wearing them.

Luisa has also become a breakout character with her merchandise reportedly outselling Isabela’s. Where most young ladies in Disney films have slim waistlines and petite figures, Luisa is distinguished with a strong build that reflects her gift. According to artist Dylan Ekren, Disney was initially against giving Luisa a musclebound design, but the “Encanto” filmmakers fought to subvert the studio’s traditional female body type. Luisa’s refreshing design isn’t the only reason why she’s connected with so many viewers. In most stories featuring strong women, their gender is usually dwelled upon. The community in “Encanto,” however, simply accepts Luisa as a strong woman, never judging her based on chromosomes. Rather than address the sexism that’s unfortunately still present today, “Encanto” creates a world we want to strive towards.

With a cast as large as “Encanto’s,” the film easily could’ve been overstuffed. Yet, we remember each member of the Madrigal family. As well-crafted as the screenplay is, much of the character development stems from Lin-Manuel Miranda’s songs. The opening number alone introduces more than ten characters in toe-tapping fashion. From “Waiting on a Miracle,” to “Surface Pressure,” to “Dos Oruguitas,” every song explores what the characters are going through and progresses the story. In “Encanto,” every song is intertwined with the story’s DNA. “We Don’t Talk About Bruno” even did the unthinkable, surpassing “Let It Go” on the US Billboard Hot 100.

The music also explores the film’s themes beneath the surface. “Surface Pressure,” in particular, visually and musically reflects what it’s like to carry more emotional baggage than one can handle. Those who put up the strongest front are usually dealing with the most anxiety. Much like “Inside Out,” “Encanto” has become another movie that therapists are using to show different reactions to trauma. Although the characters seem simple at first, we can see a lot of our own families in the Madrigals. Many families have a firstborn who feels the need to be perfect, a parental figure who inadvertently pushes too hard, and the glue who keeps everyone together. Above all else, “Encanto” reveals what happens when a family doesn’t address their problems.

Many therapists have praised the film’s depiction of mental health and purchased “Encanto” toys for their offices, as the Afro-Latino characters would connect with a diverse range of clients, including first-generation children of immigrants. “Encanto” is making numerous children feel seen. 2-year-old Kenzo Brooks was overjoyed to find an animated doppelganger in Antonio, becoming a viral sensation. Another 2-year-old, Manu Araújo Marques (mah-noo ah-ra-OO-ho), literally thought Mirabel was her when the character appeared on screen. This was especially reassuring for Manu’s mother, who feared her young daughter might be made fun of for having glasses. “I completely changed my mind and saw that princesses wear glasses too!” Hannary wrote.

Children aren’t the only ones who feel represented while watching “Encanto.” The whole film is a celebration of Latin America, and the people behind the scenes made a great effort to cast with accurate representation. The ensemble’s diverse array of skin tones notably reflects the rainbow of this culture. Even outside of the Latin American community, the story can connect with numerous other groups. Some have noted that Mirabel’s struggles to belong capture the autism experience. Even if this wasn’t what the filmmakers necessarily had in mind, that’s part of what makes “Encanto” Disney’s best movie in years. It can be read in so many different ways and help so many different people, guaranteeing that we’ll be talking about more than just Bruno years from now.