Raya and the Last Dragon: Another Challenge to the Disney Formula

Disney’s “Raya and the Last Dragon” is the newest addition to its expansive collection of animated films, though it doesn’t fail to differentiate itself from the jump. Directed by Don Hall and Carlos López Estrada, audiences are immediately thrust into the immersive and stunning world of Kumandra, a land inspired by a hodgepodge of Southeast Asian cultures (which might not have been the best choice). Regardless, the world works, the characters are engaging, the voice-acting is amazing. But what is most promising about the film is its continuation of the trend of less traditional princesses, integrating a keen sense of autonomy and control into their female leads that had long been missing in their “Disney Princesses.”

In terms of the technical aspects of the film, Raya and the Last Dragon is another triumph for Disney in animation. Every film seems to get better than the next, with this one certainly being no exception. The art is crisp, the movements amazingly natural, while still maintaining stylized art that lands the mark between overly cartoonish and realistic. Kumandra in particular steals nearly every scene in the movie, with the film inserting such lively and intricate scenery that truly showcased how much care was taken in the world-building of the film. Though, some have criticized the film for mixing influences from various Southeast Asian cultures rather than truly committing to understanding and showcasing one culture in particular. This is understandably frustrating, as it somewhat feels that Disney was trying to broadly appeal to the representation of a Southeast Asian audience without truly giving any particular culture within that broad description proper depiction, something that is desperately needed in the film industry as a whole.

One of the greatest triumphs of the movie is the voice-acting for Raya (Kelly Marie Tran) and Sisu (Awkwafina). Tran manages to balance the role of a fairly brisk Princess Raya, delivering both her cold and more sentimental sides with ease. Awkwafina was meant for the role of a goofy, enthusiastic dragon, rambling on and being a genuine delight for the entirety of her screen time. Likewise, where Raya and the Last Dragon truly differentiates itself is in its less reserved depictions of the action in the film, with fight scenes that would feel at home in your favorite medieval-drama. It’s a true action-adventure film, devoid of romance or an infantilization of its female lead (or, leads, as the three main characters are women).

Disney’s latest trend of more independent, resilient princesses, beginning with Elsa, continuing with Moana and Raya, is promising to say the least. It’s odd to see an animated film for children deliver such a representation that is lacking in other areas of media: a rich and diverse world, complex female relationships, as well as dealing sensitively with the politics of the world in the story. What’s most refreshing about Raya and the Last Dragon is that it’s truly a transcending film for all ages, and doesn’t seek to walk its audience through the story. It branches out into more fantasy and adventure elements that other Disney films in a similar vein have never risked. For these reasons, Raya and the Last Dragon was a surprisingly impactful movie that superseded its hype.

★★★★