Young inexperienced writer trying to make my way out into the world and carve my name on the side of canyons. Lover of Dance, Music, and the Written Word. I may have trouble with sticking with a story but I will never stop working to write the happy ending of my life.
Okay I’m sorry this is slowly becoming an Encanto blog, but I can’t not talk about how much I love the way Abuela Alma’s backstory is told within the movie. Because we as the audience (and Mirabel too) are effectively told the same story twice. Yet the impact of the story is much different the second time.
At the beginning of the movie, when Alma is telling her story to a very young Mirabel, these are some of the visuals that accompany it:
They’re vague and in a way, gentle. We know what is happening here is very sad, but it also feels distant, something that happened so long ago that it doesn’t feel close and personal. Which is exactly how you would tell a story like this to a young child.
These are the visuals that accompany the story the second time she tells it, this time to an older Mirabel, as she reveals exactly what this experience did to her:
The story isn’t different. We’re shown a bit more of Alma and Pedro’s relationship and life together, but it’s nothing that we couldn’t have inferred from the first telling. But this time, Alma is letting Mirabel, and the audience, see the full extent of her pain. Notice how raw and visceral the emotions are in the second version. How Alma and Pedro are clearly terrified when they realize they’ve been found. The sword glinting in the moonlight. And Alma doesn’t just reach for her husband, she screams in anguish as he is killed. Even though we technically already know this story, this moment hits like a sledgehammer to the gut. Because now we, like Mirabel, understand exactly what Alma went through and why she is so terrified of losing everything again. The pain is no longer distant or in the past. It is very close and very much in the present. Something that Alma never wanted to admit to her family.
… And that’s why the Dos Oruguitas scene broke me like nothing in animation has since I was fourteen and watching Rapunzel weep over Eugene’s body after he sacrificed his life to free her.
I can’t get over how smug Antonio looks when he hands Bruno his plushie. He’s just there, standing next to a fucking jaguar like:
“Oh yeah, here’s like, the COOLEST, thing ever, made by my bestest friend in the entire world, it’s amazing I know, it’ll keep you calm, I promise <33″
Salutes him and then fucking dips on said jaguar. Short king is living his best life because he has his favorite prima in his corner.
small heartbreaking detail about encanto- imagine how mirabel felt after spending all that time making a toy leopard for antonio only for him to get a real live leopard five minutes later
Writing Advice: it doesn’t matter if an idea has been done before. It’s never been done by you. So long as you do it well, and in your own way, it’s a wonderful contribution.
*slams fists on table*
THERE WAS ONLY ONE BED
*flips table*
BEST FRIENDS TO LOVERS
*Kicks chair*
ENEMIES TO LOVERS
*throws lamp across room*
HELP I NEED A FAKE BOYFRIEND FOR MY EX’S WEDDING
*rips down the curtains*
THEY’RE FAMOUS AND THEIR FANS SHIP THEM
*clutches wine glass so hard it shatters in my fist*
time traveler hyping themself up for the 1920s: it’s the great war not WW1 it’s the great war not WW1 it’s the great war not WW1 it’s the great war not WW1
time traveler hyping themself up for the 2020s: it’s COVID, not Pandemic 1 it’s COVID not Pandemic 1 it’s COVID not Pandemic 1
Tempt not Apollo and his rubber ball labeled gift of prophecy.