And this journey begins when Miguel selfishly steals from the dead - or more specifically, de la Cruz's legendary guitar - and is punished with a trip to the Land of the Dead, which is more a tapestry of passionate, enthusiastic activity showered in a kaleidoscope of vividly flamboyant colors and energy than a gloomy world where life ends. But this is precisely what makes the studio extraordinary, along with the fact that they manage to captivate the youngest in the audience while charming older folks, building towards a conclusion that should leave even the hard-hearted blubbering in tears. Within the Pixar canon, such themes are arguably more common, where the central protagonist learns selfish pursuits are not always for the better. The tension of following family tradition or pursuing one's personal goals is a universally relatable subject that's interestingly met with Miguel learning a lesson rather than the familiar Disney formula where the hero achieves their objective. And Abuelita Elena (Renée Victor) strictly enforces this ban, even going so far as using her chancla (leather slipper) as a deadly weapon to repel musicians from her grandson. Or better yet, they live with the pain of some bygone event that strictly forbade music for future generations. His family, on the other hand, seems stuck in the past without a concern for the future. Little Miguel's ordinary world is always looking to the future with little care for the past, taking inspiration from his hero Ernesto de la Cruz (Benjamin Bratt), an iconic folk singer and actor that continues to be celebrated and cherished. Rather than tearful farewells, we welcome their memories into our home and never forget.Īmid this cloak of memorials and reminiscences, we follow young adolescent Miguel Rivera (Anthony Gonzalez) preferring his dream of becoming a famous musician instead of joining the shoemaking family business. Whereas previous Pixar movies cope with the pain of saying goodbye, this tale tackles the idea of remembrance. However, what makes this introduction to a traditional Mexican holiday and the festivities surrounding it particularly special is a story celebrating the dead and loved ones who have passed away.
Marking their 19th feature-length film, the theme of confronting and dealing with death is, of course, nothing new to anyone versed with the vast majority of Walt Disney-owned content.
With little left to explore, the computer-animation studio keeps things more grounded and familiar in Coco, taking audiences on a tour of Mexico and its rich culture while simultaneously traveling to the Land of the Dead. Pixar has been pushing the boundaries of imagination since their inception, from visiting the world of toys, monsters, and superheroes to journeying the depths of the ocean, the mind of adolescence, the far reaches of outer space and alternate realities.