for Christmas, Disney celebrates family values


Three Hollywood traditions come together in the new Disney cartoon. The vibrant celebration of family values ​​at Christmas, as old as the world. Barely older, the Americanization of the planet understood as a more or less exotic suburb of the United States. And, more recent, the meticulous contribution to diversity, history of remaking a virtue. Four years after the success of Coco, Burtonian-inspired essay taken out of the Pixar-Disney laboratory, the firm is therefore going back to the Latin dish, transposed – you still have to read it in the presentation texts to find out – in Colombia.

In truth we are nowhere, if not in a version of Coco in need of inspiration, of which we do not deprive ourselves of taking up the canvas: a united family, whose traditions an ugly duckling wants to break, bringing to light in the process a heavy secret whose revelation will on the contrary consolidate the community. It is here the young Mirabel, brunette with green glasses, who plays this role, she who has no magical power in a family where each member can claim to have one.

A magical house

This privilege is linked to the history of the family. The grandmother, fleeing with her family an attack in which her husband lost his life, settled down a long time ago in the valley of Encanto, where Casita, a magical house, now had to ensure the survival of her very large household (we is in Latin America) by conferring power on each of its members. Witness to this protection, an eternal flame placed by the grandmother in the house, of which Mirabel, reluctant to community charm, sees in a terrible vision the exhaustion, the return of the original threat and the subsequent collapse of the family home. .

On this Colombian plot worthy of the Jewish holiday of Chanukah, the young girl, deaf to her grandmother’s objurgations, launches out in an investigation to save her family which will be above all a pretext for a multitude of sung paintings, in a debauchery of wonderful colors and permanent fireworks. Without claiming the slightest musical authority, and specifying that we attended the French version of the event, the songs, a self-righteous mix of singers with interchangeable trills and family hip-hop, seemed atrocious to us. Will we say, however, that the children will not benefit from this spectacle? We should beware of such certainty, the morality professed by the film doubtless starting with itself: the best is the enemy of the good.

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