Encanto follows the tradition with other superbly made films by Walt Disney Animation Studios imbued with thoughtful social commentaries, such as Zootopia and Frozen. Detective Judy Hopps and artist Nick Wilde face disabling conversations in real life that stem from negative racist stereotypes, with Elsa acting as the main character and her sister Anna and friend Kristoff. Everyone has redefined expectations for social commentary on animated children’s stories, and Encanto is taking it further.
Deputy Mayor Bellwether tried to reverse the complex dynamics by creating cases of chemically induced false accusations, and Prince Hans of the Southern Islands failed in his suicide attempt. Disney’s latest tale impresses with a traditional antagonist and offers something far more innovative and tragic. The absolute truth of the story is genital trauma and how the family’s coping mechanisms can fail and topple despite efforts to overcome scars from their past.
Before the film even begins, it establishes an emotional connection to its thematic dynamics. Before the main movie, there is a short film called Far From the Tree, which shows a meeting between a pair of raccoons looking for mussels on the beach. The film provides an insight into how generational trauma is amplified and inherited without the use of dialogue. The audience sees a father who loves his son so much that he cannot allow himself to be subjected to known abuse from his past and is ready to sacrifice his relationship with his son in the process. It leaves only the frightened and interrupted son and the disappointed and inspired father for himself and the world because he has not met his unreasonable standards. The son breaks the cycle by letting the commercial live outside his father’s silhouette, and the feature embraces the synergy of that traffic.
At the beginning of Encanto, Alma and Pedro Madrigal escape from a war-torn city with three children at the bar. At the same time, a group of silhouette-armed men catches up with themselves and their fellow travelers as they cross a river. Pedro saves time for others by promoting the quartet on horseback, causing their deaths and mysteriously fulfilling his family’s deepest desires. From the magical place rises the fountain of the house, a single candle with a flame burning forever, and the source of the magic inherent in the will of the madrigal.
The film never deals in depth with the circumstances of the world in which the two first meet. There are flashbacks showing moments of peace and shared moments where the turmoil that disturbed them appeared further away. Still, at some point after their trumpet was born, the streets burned outside their window. . No time is even spent describing where they were going, as the only real destination seems to be an orderly sense of a safe place and a willingness to give up their lives in the areas they are likely to be. It is even more important to escape from them as they did not make this decision on their own as many families have taken the journey with them. It is important to remember that this trauma precedes Pedro’s death and puts him in a higher knot of fear.
Although the film creators have suggested that Encanto is located in the Colombian mountains, it does not matter in many ways. It’s expensive to embrace unique cultural tones and tenor tones. The film does an excellent job of delivering an actual family experience, not generic sets, but because of its broader discussion of moving and taking up space. Safe for his family’s health, he could be anywhere in a world where the certainty of the dilemma is left to migrants without the uncertainty of a dangerous prospect. Encanto questions the fundamental principle of safety by describing an excellent societal environment based on controlled disappointments and the consequent decline in self-esteem.
The family’s matriarch, whose triplets themselves became parents, thrived on blessings that included magical and social landscapes, but at the expense of their integration and hygiene. Alma is closest to the film as a physical guardian. Still, the expression is too difficult to adapt as she is the film’s first victim. The continuing cruelty of her husband’s losses has hardened her to the small losses she willingly sacrifices, including the presence of her son to maintain the security that these sacrifices require. She cannot mourn the tears of her missing son or granddaughter. He marginalized her because the horrors of the mountain may be here to throw them all away, and she feels a duty to keep them in check.
The secret behind keeping alive the magic that has kept her alive in all these generations is that Abuela Alma undergoes mandatory therapy to deal with how her choices affect her family, which has kept them safe but made him vulnerable to its fears—got another quake. This intractable pain has created natural, invisible fractures throughout his life. Each of them carries a piece of that pain without knowing its true origin or not expressing the pain they are experiencing. They can only heal and restore their lost magic by directly facing this truth and achieving true peace beyond the nature of actual security, with their spiritual well-being as a priority.
When asked if one at the Villa can feel safe if one is still afraid of losing it, the film responds with a warm embrace to the pain that nurtures that fear and the circumstances that make it possible. Alma opens up to the feeling of loss instead of hardening, becomes brave enough to seek out and deal with her pain, and ultimately restore faith in the magic entrusted to her through the covenant she retains the deposit Include to guarantee. His children and grandchildren use him indirectly because their burdens have always been shared. After all, he saw his emotional turmoil as a force. Her controlled illusions prevented her from casting out the demons that had harassed her. The magic returned when she confronted them, but this time with something none of them had ever seen before. The well-being comes from dependence on others and the eradication of hereditary diseases.