Turning Red” asserts the value of a metaphor signifying more than one thing. With any story centered on a 13-year-old's multidirectional hormones in the ...
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In Pixar's new animated film, a Chinese Canadian girl awakens one morning to find that she's turned into an enormous panda. Turning Red provides a lot to ...
All of which is to say that Turning Red gives you a lot of ideas to grapple with. I also balked at moments that seemed to exaggerate for comic effect, especially when it came to Mei's mother, who's clearly been conceived along the lines of the controversial "tiger mom" stereotype. As it turns out, the red-panda effect is the result of some very ancient Chinese magic that's been passed down to Mei through the women in her family. And then one morning, in a twist that riffs on Kafka's The Metamorphosis and countless werewolf movies, she discovers that she's turned into an enormous red panda, with bright red-orange fur and a long, bushy tail. Director Shi, who wrote the script with Julia Cho, confronts the messiness of adolescence with an honesty that's refreshing in the world of studio animation. With her first feature, Turning Red, Shi leans further into the complexities of Asian parent-child relationships — and this time, she's come up with an even wilder conceit.
The film, directed by Domee Shi, tells the story of Meilin (played by Rosalie Chiang), a Chinese Canadian 13-year-old, battling the ups and downs of the early ...
"The story of all of these friends and the family is so universal... There's emotions in 'Turning Red' that are absolutely part of a human story," she said. "It's not like I could relate to Ratatouille... I didn't even know Ratatouille was a dish," she said. That's what it kind of felt like," Wang Yuen said. Which is fine — but also, a tad limiting in its scope," O'Connell wrote. The film, which premiered Friday on Disney+, been widely hailed as a refreshing, creative look at tweendom and the awkwardness of growing up.
It's a confidence that perfectly reflects 13-year-old protagonist Meilin "Mei" Lee (Rosalie Chiang) — a boy-band-loving, Tamagotchi-wielding, overachieving ...
In that way, "Turning Red" would make a nice companion piece to "Inside Out," which also looked at the complex emotional realities of growing up as a tween girl. It’s just that she’s also starting to develop interests outside of her family too, and she’s struggling to balance that with a mom who would clearly prefer to keep her daughter frozen in amber. About the writer: Caroline Siede is a film and TV critic in Chicago, where the cold never bothers her anyway. The platform gives fans of entertainment, news and sports an easy way to discover new content that is available completely free. Ten years later, Shi is now the second woman to have a directing credit on a Pixar film and the first to have a solo directing credit. And "Turning Red" isn’t afraid to ground its story in the hyperactive, emotional rollercoaster of an experience that is life as a tween girl. And Shi complements that emotional originality with an animation style that feels just as unique. But "Turning Red" is equally about the broader emotional tumult that comes from growing up and carving out your own identity outside of your family. "Turning Red" is just as weird and wonderful but with even more room to flesh out its quirky, moving world. What works so well about "Turning Red" is its savvy mix of universality and specificity. She and co-writer Julia Cho are particularly smart not to make Mei’s "panda" an allegory for just one thing. There’s a special kind of joy that comes from watching a film that’s completely confident in its eccentricities.
Disney Media & Entertainment Distribution announced that Disney and Pixar's “Turning Red” would premiere exclusively in homes worldwide on Disney+ on March ...
“Turning Red” introduces Mei Lee (voice of Rosalie Chiang, “Clique Wars”), a confident, dorky 13-year-old torn between staying her mother’s dutiful daughter and the chaos of adolescence. The El Capitan is located at 6838 Hollywood Blvd. “Turning Red,” which is rated PG, runs through March 17. This marks the first time that a Pixar feature has had an Asian protagonist and centered mainly on Asian characters. The voice cast also includes Ava Morse (“Ron’s Gone Wrong”), Maitreyi Ramakrishnan (“Never Have I Ever”), Hyein Park, Orion Lee (“First Cow”), Wai Ching Ho (“Awkwafina Is Nora from Queens”), and veteran actor James Hong (“Blade Runner,” “Big Trouble in Little China”). And as if changes to her interests, relationships and body weren’t enough, whenever she gets too excited (which is practically ALWAYS), she “poofs” into a giant red panda! Disney Media & Entertainment Distribution announced that Disney and Pixar’s “Turning Red” would premiere exclusively in homes worldwide on Disney+ on March 11, along with a simultaneous limited run at the El Capitan Theatre in Hollywood.
Vulture's Alison Willmore reviews 'Turning Red,' the Domee Shi–directed Disney and Pixar film about the relationship between the first-generation Ming ...
The shame comes from Ming. She had it instilled in her by Mei’s even more iron-willed grandmother, who eventually shows up with a battalion of aunties for a ceremony meant to seal Mei’s inner beast away forever. Effervescent and ridiculous and grounded in a pastel-shaded Toronto and the nearby throwback details of 2002, it has texture and specificity to spare, and the only person it cares to speak on behalf of is its 13-year-old heroine, Meilin Lee (Rosalie Chiang). The panda, fluffy and free, represents Mei at her most unfettered, dancing up a storm and posing for pictures and serving as the life of the party once Mei and her friends figure out that they can monetize Mei’s metamorphosis to buy 4*Town tickets. Mei is an unabashed dork who loves Canada; her grade-eight crew of Miriam (Ava Morse), Priya (Maitreyi Ramakrishnan), and Abby (Hyein Park); the boy band 4*Town; and her parents Ming (Sandra Oh) and Jin Lee (Orion Lee), though her suffocatingly close relationship with her helicoptering mother is more complicated than she’s willing to acknowledge. Maybe it’s that the simplicity of Bao (which, like most of the animation giant’s shorts, is wordless) gave it the feeling of a fable that we were supposed to take ownership of, whether those were its intentions or not. For all that we measure out recognition in pangs, the experience of seeing some fragment of yourself onscreen is usually assumed to be a positive one.