Luca (2024)

The world seems to be getting more and more unsafe for transgender people. Varying legislation in the USA and the UK are having negative impacts on the mental health of trans people. From making gender-affirming healthcare less accessible to not acknowledging pronouns, the world seems to be hyperfocused on attacking people who aren’t cisgender. Though adults are unfortunately often the victims of hate crimes, the toll isn’t less on children. They aren’t allowed to claim different identities from what they’re assigned at birth, and often even lack the resources required to understand how they’re feeling. There are severe efforts being made to hide awareness that some people are transgender, feeling a different gender identity that does not align with their expected gender and birth sex.

Few things in the realm of entertainment are able to replicate, let alone surpass, the enchanting and fantastical worlds of Disney Studios. Their magical wonderlands and blissful worlds have been captivating audiences for almost a century and I am no exception - some of the most influential media from my childhood up to now have been products of Disney. But I'm not here to celebrate or excuse them, they have a glaring and, up until recently, unaddressed issue that spans nearly its entire lifetime - an absence of diversity. And that doesn't really even begin to express the gravity of the issue, it's more an avoidance of diversity, a conscious effort to neglect any competent minority representation. It wasn't until 69 years later that Disney finally released a film featuring people of color in 1992's Aladdin - with an all-white voice cast. And three years after that with one of the most beautifully animated films Disney has ever produced in Pocahontas in 1995, which actually utilized Native American talent such as Irene Bedard, James Apaumut, and Russell Means, amongst others, to voice its Native American characters, but also has one the most backwards and problematic narratives Disney has ever offered. It wasn't until Mulan in 1998 that Disney finally made a feature film about non-white characters, starring (primarily) non-white actors, that made actual progress towards inclusion and even as it relates to trans representation as discussed here, which is something the rest of the industry still has yet to make significant progress on. But with that being said, since 2009's Princess and The Frog, Disney has seemingly made an effort to release films featuring a variety of cultures that stand alone and above many of their other projects. 

But they still have a ways to go. While they have made enormous leaps in way of Hispanic and Asian representation with fantastic films like Coco, Moana, Raya and the Last Dragon, Encanto, and most recently Turning Red, they have fallen behind on the front of Black representation, with only two films, 11 years apart, featuring a Black main character. Princess and The Frog and 2020's Soul. This lackadaisical attitude they seem to have is a bit alarming, and as great as I thought Soul was, there was one stand-out issue: the main character, Joe Gardners (Jamie Foxx), has his soul swapped into the body of a housecat while 22 (Tina Fey), a yet to be born soul, is transferred to his body, thus removing any sense of individualism he once had, and even plays him off as a joke at times. This is, unfortunately, the case for a not-insignificant portion of the film. Joe spends a lot of time as a tamed, talking cat while a white woman is voicing and acting in a black body. This doesn't entirely ruin the film or detract from what is otherwise beautiful, but the decision to commit to this frame of storytelling for such an extended duration is a bit perplexing, especially given it received so much praise for its depiction of Black culture. Though the film does have a number of themes permeating throughout, it can feel a touch crammed, which ultimately leads to getting even less time with Joe Gardner - the man. And for those of you who have seen it, you know he isn't devoid of development, as Joe and 22 rely on one another to learn about multiple different aspects of life. But it still remains that he isn't his own person for much of the movie, and I would have loved to see a version of the film where Joe still gets to experience that same development while being in control of his own actions. I don't entirely know how something as glaring as this went overlooked at Disney, and Pixar too for that matter. (Editor's note: especially after how Princess Tiana was trapped in the body of a frog for most of Disney's Princess and the Frog.)

This also isn't the only misstep they've taken recently. Disney recently had a scene for the upcoming Pixar film Lightyear removed, that features a same-sex kiss. Fortunately, Pixar employees demanded it be restored and Disney complied, but why was it taken out in the first place? Disney seems insistent on reaming stagnant when it comes to inclusion and trying to represent all types of people. When they move, they move slow, and the progress is minimal, but at the end of the day, it's progress nonetheless. With films like Luca, which many argue is LGBTQ+ coded given the relationship between the two main characters, Disney clearly has the potential to tell incredible stories revolving around same-sex relationships if they just stop with the 'no-homo' environment they seem to be pressing. I personally think it's time for Disney to stop with the tip-toeing and release a film with proper representation for groups of people they have otherwise hidden as background ambiguous easter eggs, and simply deal with whatever controversy they would inevitably receive. Because let's be honest, with the success of their animated features, not to mention their little properties known as Star Wars and the MCU, it's not like they have anything to recover from financially. So bite the bullet, Disney: you have no reason not to.

The Incluvie predictions for various categories in the upcoming 2022 Academy Awards.

Cartoon Saloon is really coming into its own with its distinct style of art, and personal narratives to tell compelling stories about the world. The 2017 film The Breadwinner is one of the most haunting English animation films I have ever seen. And the studio lived up to that, with another powerful story in Wolfwalkers. It’s about a misfit girl Robyn who ventures outside into the woods and becomes friends with a mysterious girl Mebh who morphs into a wolf. She has a personal vendetta against people because they’re encroaching into the woods. However, she’s timid when friendly, and once even vulnerably admits her mother is missing. At night, Robyn discovers she’s morphed into a wolf.

It’s a vampire-esque origin story, with Robyn’s morphing triggered by Mebh’s bite mark, which she made as a wolf. To avoid spoilers, it’s not possible to go into details about how extensively the film develops the metaphor for being queer. Robyn can live up to her free-spirited soul, and runs through the forests with her new friend Mebh after she transforms into a wolf at night. The bite mark is practically a euphemism for the eye-opening experience many have, which makes them realize why they were not fitting into this aggressively heteronormative world. Often it takes another person to show us our truth, and then leave us to explore for ourselves. That’s exactly what the first half’s about.

Luca, Disney’s pride month release, takes a slightly different approach. There, the story is told from the perspective of those who are aware of themselves. They consciously hide from the rest of the world. Here, they’re sea creatures which the people think are monsters. They never go to the land. However, when a kid, Luca, does cross over, he realizes, he gets transformed into a person, and can perfectly fit into the world. Here also, there’s another daring kid, Alberto, who guides him, like in Wolfwalkers with Mebh for Robyn. They feel adventurous and decide to try life as people for some time. It’s essentially the same story, however, when taken literally, the symbolism is a bit problematic.

If the monstrosity is really a metaphor for queerness, I’m not sure it sends a good message to depict them blending into the regular world, and finding it adventurous and fun. It almost gives being heterosexual, a ‘forbidden fruit’ touch. In fact, the conclusion of Luca makes it clear why they chose such a bizarre depiction, but that makes it feel quite like propaganda made to categorically come across as an ally. Actually, Luca is too much of a Disney movie to make sincere commentary. Wolfwalkers doesn’t shy away from portraying the dysphoria that arises from trying to belong in a heteronormative society. Luca does that too, but the beginning is the other way round and that’s a puzzling choice.

Many have said Luca is an animated kids version of Call Me By Your Name. Visually, I agree. It’s got a similarly dreamy colour palette, and the town looks familiar for anyone who’s seen the Guadagnino film. However, Call Me By Your Name, is actually more similar to Wolfwalkers thematically. There, the unsuspecting protagonist was introduced to their latent sexuality by another person, and they secretly explore that. In Luca, they’re both aware and are bored with being themselves, so they secretively pretend to be straight to reap the benefits of being heterosexual. There’s truth in the fact that there is hetero privilege in the world, but Luca never crosses the line into questioning the perception of heterosexuality as ‘normal’.