Disney and Pixar’s ‘Turning Red’


The experience of seeing our fragments on the screen for everything we measure cognition in pain is usually considered positive. But the rush of friendliness brought about by Domee Shi’s 2018 shorts, Bao, The way I had a hard time clarifying made me sick. I got well from almost the first frame. An eight-minute movie about the Chinese Canadian Empty Nest Syndrome directing her feelings about her estranged son to anthropomorphic dumplings is surprisingly efficient at extracting tears. am. But I was as indignant as praising its effectiveness. Something that shows how easy you are in terms of classic diaspora pain points, such as a dominant first-generation mother, a rebellious westernized child, guilt, sacrifice, and disappointment. It’s hard to grudge. ..

When hashing that ambivalence with a friend, we noticed that we were comparing BaoI wondered the protagonists of each mother (Chinese, Chinese via Singapore, Japanese via Peru) and why we needed them. Women, the first Pixar shorts from female directors.Maybe it’s simplicity Bao (Like most animated giant shorts, there are no words) gave us a sense of parable that we were supposed to own, whether it was intentional or not. A friend complained about how imagining an immigrant patriarch devoted to his son was a terminal second generation.Still, despite her dissatisfaction, the surprising point is BaoThe parable of the parent and child stuck to her. A few months later, she had to reach for it when she explained the situation of her acquaintance with her own mother. I ate him!

She was talking about a scene where she was left behind by her surrogate mother and panicked. Bao Instead of keeping him away from her, he devours a baby with adorable food. It’s a concern and an absolute highlight. The moment it becomes clear that Shi is more interested in making something darker and weird than Subtle Asian Traits: The Animated Movie, it feels like Shi’s new film was born. get red Her functional debut, which is the best Pixar has released over the years. Once again, regarding Chinese Canadian mothers and children, it is not burdened by the obligation to adhere to their treatment but to meet the impossible expectations of viewers’ completely different demographics. Enthusiastic and ridiculous, based on pastel-colored Toronto and throwback details near 2002, it has generous texture and peculiarity, and is the only one that cares to speak on its behalf. The person is the 13-year-old heroine, Meyrin Lee (Rosary Tian).

Mei is a shy Dok who loves Canada. She is a crew member of her 8th grade Miriam (Ava Morse), Priya (Maitreyi Ramakrishnan), and Abby (Hyein Park). Boy Band 4 * Town; Her parents Min (Sandra Oh) and Jin Lee (Orion Lee) have a suffocatingly close relationship with her helicopter mother, which is more complicated than she admits. She also loves herself, at least one night, until she unexpectedly transforms into a giant red panda. She became a legacy of her maternal lineage. It is a blessing inherited from the ancestors of distant warriors, who, as Ming carefully says, are now “inconvenient”. The panda, which appears every time Mei experiences strong emotions, is an unmistakable substitute for puberty — certainly, standard puberty usually doesn’t even involve stretching the tail, but curvy, hairy. , And Musky. This new animal aspect arrives with a teenage hormonal eruption that stares at her classmate who hit her beaver and scribbles her sketches fiercely with a local Minimart clerk.

The beautiful strangeness of Mei’s newborn sexuality — she enjoys portraying her favorite 4 * Town members as mermen — even more painful of the inevitable arrival of shame in her life. .. It’s not the panda’s fault. The fluffy and free panda is the most free expression of Mei, dancing storms, posing photos, and understanding that Mei and her friends can monetize Mei’s transformation and buy 4 * Town tickets, the party. Provides a life of. Shame comes from Ming. She had her planted it by Mei’s further iron-willed her grandmother, and it was finally her for a ritual intended to seal her inner beast of Mei forever. Appears with a battalion of aunts.There is the heart of the unresolved and unresolved generation of wounds get red, How Mei feels obsessed with her mother’s hopes and dreams, and how Min has a grudge against not feeling good enough for her mother, a pattern she had to repeat. .. However, the film is not interested in the fighting of Eastern values ​​against Western tolerance.

what get red The character only wants to open up a space where being a good daughter does not require self-erasure. In doing so, Ming is hovering outside Mei’s school and waiting to watch a Mandarin drama with her at night, but not as an incarnation of Tiger Mama, but as a woman who made her child a close friend. Yes, when the child embarks on his life, he is lonely.Expressions can be terribly flimsy to invest, as Pixar’s parent company Disney demonstrated briefly. Funding Supporters of Florida’s “Don’t Say Gay” Bill While promoting the “various stories” as “more powerful than tweets and lobbying.”Thrill of get red It’s a way that the character doesn’t feel positive about typecasting or war with typecasting. They are simply stupid children, scary but scary adults who are trying to understand how their relationship grows over time, rather than calcifying into fragile and broken things.

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