Byron Howard e Jared Bush
Encanto

"Encanto," the 60th Disney classic, released in prohibitive conditions during the toughest season of Covid and received with not exactly benevolent critiques, is a good film. Provided that one loves musicals and allows oneself a journey into fantasy where nothing is real and the unreal is a dream.

The weak points lie almost entirely in the screenplay, penned by Byron Howard and Charise Castro Smith. It has the not so commendable habit of digressing and presenting too many characters, so much so that the feeling of bewilderment in the first 20 minutes is evident. However, the adventures of the Madrigal family, and the unmentionable Bruno, admittedly appear a bit fragile but are very colorful and full of life.

The musical format is evident, but the rhythm is not affected by it, and it's not uncommon to find oneself thrilled by the adventures of an extraordinary family (the long scene of preparation for the evening when the youngest Madrigal's talent will be revealed). Because, indeed, the discourse on talents (which sometimes, spoiler, are being normal) is not an unrealistic discourse, and it's not such a contemptible message, especially if aimed at a very young audience. The contrast between the very colorful Madrigal world and Bruno's darkness works perfectly, and the songs often take the form of a narrative connection (and not, therefore, a simple singing moment) as hasn't been seen in a Disney product for some time.

Not to mention, notably, that, for once, the female "cast" is not just a nod to the Me Too movement or a passing fashion, but is perfectly embedded within a product where there are no villains in the strict sense but villains that we carry inside.

I understand the critiques, I understand those who dislike musicals and thus will find themselves uncomfortable with a film where a lot of singing occurs, but the whole is much more than pleasant and, quite frankly, rather entertaining.