Disney Makes Oscars Magic Once again with 'Encanto'

Encanto Soundtrack - Photo: Disney Enterprises, Inc.
Encanto Soundtrack - Photo: Disney Enterprises, Inc.
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Disney Makes Oscars Magic Once again with 'Encanto'

Encanto Soundtrack - Photo: Disney Enterprises, Inc.
Encanto Soundtrack - Photo: Disney Enterprises, Inc.

With a sprinkle of magical realism and catchy tunes by Lin-Manuel Miranda, Disney again claimed Oscars gold for best animated film Sunday with "Encanto," a colorful celebration of Colombian culture and the importance of family.

The film defeated a diverse field -- Afghan refugee documentary "Flee," Pixar's Italy-set coming-of-age tale "Luca," futuristic family comedy "The Mitchells vs. the Machines" and Disney's fantasy adventure "Raya and the Last Dragon."

"I am so proud to be a part of a film that puts beautiful, diverse characters in front and center, and that people everywhere are seeing themselves in the film," producer Yvett Merino told the audience at the Dolby Theatre.

The movie tells the story of Mirabel, an ordinary teenager born into the charmed Madrigal clan, living in a secluded paradise of lush gardens and towering mountains. Every family member has a special superpower -- except for Mirabel, AFP said.

To the rhythm of Colombian folk music styles like vallenato and bambuco, and with coffee and arepas on the stove, the Madrigals use their gifts to help their fellow villagers with whatever they need.

But the magic -- generated by a supernatural candle -- suddenly starts to fade, requiring the family to unite to save their home and their community.

The film was also nominated for best original score and best original song for "Dos Oruguitas."

The tender ballad recounts the love story of the family matriarch Abuela Alma, and how the enchanted candle came to her when her husband Pedro was killed by invaders who forced the family off their land.

The scene recalls the decades-long conflict in Colombia pitting the government against armed rebels, anchoring the film in the country's tortuous history.

- 'We Don't Talk About Bruno' -
Mirabel, who is Alma's granddaughter, feels as though she has let the family down, and that its fading magic is her fault. Alma does not exactly dissuade the teen of this notion.

Another key element of the story is the reemergence of the family's black sheep, Bruno (played by John Leguizamo), who went into self-exile after a disturbing vision of the future involving Mirabel.

"We knew he was someone people would gravitate towards," one of the film's co-directors Jared Bush told Variety.

"John was so spectacular: funny, lovable and weird -- and in not a lot of screen time!"

One of the film's lasting legacies will be the runaway success of "We Don't Talk About Bruno," a catchy mix of hip-hop and Cuban rhythms written by Miranda that topped the Billboard Hot 100 chart for weeks.

"Every family has an outcast or someone who feels like an outcast. I think it's one of the reasons the character has taken off. A lot of people feel like a black sheep," co-director Charise Castro Smith told Variety.

The story ultimately is an ode to inclusivity, and how every member of a family can contribute, with or without special gifts.

- Diversity and representation -
"Encanto" is a triumph of representation on the big screen -- Disney is well known for its perfect princesses with long hair and ball gowns, but Mirabel has unruly curls, wears glasses and traditional clothes, and doesn't have a superpower.

The cast is made up almost entirely of Hispanic actors and opens with a line in Spanish: "Abre los ojos," or "Open your eyes." The spectacular animation includes painstaking details in the traditional clothing worn by the characters.

Bush tweeted that the film's cast and crew were "overjoyed that so many people are seeing themselves in this film."



Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
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Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)

You might need to lie down for a bit after "Eddington." Preferably in a dark room with no screens and no talking. "Eddington," Ari Aster's latest nightmare vision, is sure to divide but there is one thing I think everyone will be able to agree on: It is an experience that will leave you asking "WHAT?" The movie opens on the aggravated ramblings of an unhoused man and doesn't get much more coherent from there. Approach with caution.

We talk a lot about movies as an escape from the stresses of the world. "Eddington," in which a small, fictional town in New Mexico becomes a microcosm of life in the misinformation age, and more specifically during the pandemic and the Black Lives Matter protests, is very much the opposite of that. It is an anti-escapist symphony of masking debates, conspiracy theories, YouTube prophets, TikTok trends and third-rail topics in which no side is spared. Most everyone looks insane and ridiculous by the end, from the white teenage girl (Amélie Hoeferle) telling a Black cop (Michael Ward) to join the movement, to the grammatical errors of the truthers, as the town spirals into chaos and gruesome violence.

Joaquin Phoenix plays the town sheriff, a soft-spoken wife guy named Joe Cross, who we meet out in the desert one night watching YouTube videos about how to convince your wife to have a baby. He's interrupted by cops from the neighboring town, who demand he put on a mask since he's technically crossed the border.

It is May 2020, and everyone is a little on edge. Joe, frustrated by the hysterical commitment to mandates from nowhere, finds himself the unofficial spokesperson for the right to go unmasked. He pits himself against the slick local mayor Ted Garcia (Pedro Pascal), who is up for reelection, in the pocket of big tech and ready to exploit his single fatherhood for political gain. At home, Joe's mother-in-law Dawn (Deirdre O'Connell) spends all day consuming internet conspiracy theories, while his wife Louise (a criminally underused Emma Stone) works on crafts and nurses unspoken traumas.

Joe's eagerness to take on Ted isn't just about masking. Years ago, Ted dated his now-wife, a story that will be twisted into rape and grooming accusations. Caricatures and stereotypes are everywhere in "Eddington," but in this world it feels like the women are especially underwritten - they are kooks, victims, zealots and the ones who push fragile men to the brink. But in "Eddington," all the conspiracies are real and ordinary people are all susceptible to the madness.

In fact, insanity is just an inevitability no matter how well-intentioned one starts out, whether that's the woke-curious teen rattled by rejection, or the loyal deputy Guy (Luke Grimes) who is suddenly more than happy to accuse a colleague of murder. Louise will also be swayed by a floppy-haired internet guru, a cult-like leader played with perfect swagger by Austin Butler.

The problem with an anarchic satire like "Eddington," in theaters Friday, is that any criticism could easily be dismissed with a "that's the point" counterargument. And yet there is very little to be learned in this silo of provocations that, like all Aster movies, escalates until the movie is over.

There are moments of humor and wit, too, as well as expertly built tension and release. "Eddington" is not incompetently done or unwatchable (the cast and the director kind of guarantee that); it just doesn't feel a whole of anything other than a cinematic expression of broken brains.

Five years after we just went through (at least a lot of) this, "Eddington" somehow seems both too late and too soon, especially when it offers so little wisdom or insight beyond a vision of hopelessness. I wonder what world Aster thought he'd be releasing this film into. Maybe one that was better, not cosmically worse.

It's possible "Eddington" will age well. Perhaps it's the kind of movie that future Gen Alpha cinephiles will point to as being ahead of its time, a work that was woefully misunderstood by head-in-the-sand critics who didn't see that it was 2025's answer to the prescient paranoia cinema of the 1970s.

Not to sound like the studio boss in "Sullivan's Travels," trying to get the filmmaker with big issues on the mind to make a dumb comedy, but right now, "Eddington" feels like the last thing any of us need.