Pixar’s Turning Red is bursting with youthful energy, fresh ideas, and a wondrous central narrative about family and acceptance that hits harder than anyone could have expected. It rules, and feels like the start of something new from the animation studio as a storyteller. We need more films like this, partly because it’s so real.
True, Meilin Lee’s hereditary transformation into a giant red panda as a response to any form of emotion isn’t going to happen in reality, but the message it represents is something young girls go through as they usher into womanhood. Turning Red is filled with references to growing up, whether it’s Mei’s desire to see 4Town with her friends, or developing newfound crushes on awkward convenience store losers. Children will see themselves in her struggles, learning that it’s totally okay to stand apart from your guardians and rebel for the betterment of everyone. I mean, so long as you aren’t murdering anyone or smoking the Devil’s lettuce.
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She’s maturing, but finding herself becomes increasingly difficult when attached to a caring mother who wants the best for her, so much so that it stifles all forms of growth she hopes to facilitate. I come from a white family so can’t speak to how Turning Red echoes the experience of coming from an Asian upbringing like this, but the overarching messages about adolescent rebellion and learning to stand on your own is something that shines across all races, and one Pixar is all too keen to emphasise throughout.
I could be here all day talking about fascinating lessons learned from Turning Red and the observations many will take away from its depiction of generational trauma, but there’s one particular scene
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