Director: Domee Shi
Key Voice Cast: Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Tristan Allerick Chen
Writers: Domee Shi, Julia Cho, Sarah Streicher
Bright and bubbly, 13-year-old Meilin (Rosalie Chiang) seems to have it all together; she does well in school, she has great friends, she gets along with her parents. Meilin is happy and content in her life, but soon bodily changes begin to occur, and whenever she gets too overwhelmed, Meilin discovers that she transforms into a giant red panda.
The metaphor isn’t exactly subtle; Turning Red, as implied by its title, is one big coming-of-age story. There’s no world-ending stakes here, Meilin isn’t running off to save humanity from almost certain destruction, she’s just trying to live her life and be the best version of herself that she can be. Though there’s plenty of (super cute) magical mayhem, Turning Red is centred around the struggles of adolescence, dealing with all the awkwardness, confusion and pressure that comes with learning how to navigate the world as a young teen.
Directed by Canadian filmmaker Domee Shi (the director behind the Oscar Winning short Bao), Turning Red is bold, bright and unapologetic—much like its main character. Meilin, as she introduces herself to the audience, is loud and proud, positive and confident; she is entirely, refreshingly unashamed of who she is and what she likes.
Set in Toronto in 2002 (ah, simpler times), Turning Red is visually stunning, with a unique style and a pastel palette that feels very tween girl, very Meilin. Bubbly and energetic, incorporating emojis, fast text bubbles and anime stickers, the whole film is very much filtered through Meilin’s lens, painting a picture of her world in a way that keeps her experiences front and centre. From start to finish, the audience is transported into a world of first crushes, parental humiliation, and boy bands with surprisingly catchy early 2000s pastiche songs (penned by Billie Eilish and Finneas) that have just the perfect amount of cheese (“I drove by your house 29 times today / nobody else could make me feel this way”).
Turning Red is notable as the first Pixar film to have a solo female directing credit; Domee Shi achieves the honour after also previously making history as the first woman to direct a Pixar short. Not to stop at one glass ceiling, the film is also significant as the first Pixar movie to be so frank about puberty (yes, sanitary pads appear, references are made, so a conversation may ensue for younger viewers).
As bright and bubbly as the movie is, Turning Red, like many Pixar films, explores some heavy emotions. Along with the ups and downs of puberty, the film looks at the impact of shouldering overbearing parental expectations, and the effect that can have on one’s life and mental health. Turning Red is a realistic rollercoaster ride of emotions as Meilin struggles to navigate familial pressures amidst the trials and tribulations of growing up, trying to reconcile who she is and what she wants with how she fits into her family and her wider world.
Running with the idea of a main character who transforms into a giant red panda, Shi could easily have made the film about Meilin trying to conceal her newfound ability. Instead, Turning Red goes in the opposite direction, allowing for some truly wholesome themes of friendship and acceptance to shine through. Meilin’s ride-or-die best friends Miriam (Ava Morse), Abby (Hyein Park) and Priya (Maitreyi Ramakrishnan) constantly stand by her side, showcasing the power of a positive support system. Meilin going (relatively) public with her ability is an entertaining turn of events that provides ample opportunity for fun group shenanigans.
Despite all the adorable whimsy of its magical metaphor, the story manages to feel relatively contained in the first two acts. The third act however, leans right into the sort of bombastic absurdity that could be expected from a movie in which a girl transforms into a giant panda and runs around the city. Turning Red amps up the spectacle towards the end with a massive kaiju battle in the midst of a pop concert. It’s ridiculous, it’s definitely fun, but it’s also a distinctly fine line for the film to run.
As funny as the battle is on one level, it feels important to recognise that the mother’s behaviour is ramped up to such extremes that the film does, in that moment, depict a dangerously imbalanced mother-daughter relationship. However, there are some strong, poignant scenes that follow, passing commentary on generational pressures, inherited burdens and learned behaviours, with the film noting the importance of acknowledging, addressing and readjusting relationships and expectations when they become restricting or unhealthy.
Extreme in both size and cuteness, the use of giant, fluffy, red pandas as a metaphor for overwhelming emotions undeniably captures the essence of the experiences being explored in a very striking and memorable way. What the film does best, however, is provide a light-hearted way to show viewers—or perhaps remind them—that it is natural for growing up and figuring out who you are and how you fit to feel uncomfortable and confusing. Turning Red not only shines in showcasing the power of friendship, but also in delivering a strong story able to help young viewers identify toxic familial dynamics and recognise the importance of addressing them. Shi has crafted a film with the ability to open channels for conversations about the challenges of growing up, fitting in, and dealing with parental pressures.
Refreshingly frank and notably more mature than previous Pixar releases, Turning Red addresses heavy topics with a monstrously large amount of whimsy. Just as wholesome as it is humorous, Shi uses a very memorable (and undeniably adorable) metaphor to convey important messages about knowing your worth, your needs, and setting your own boundaries. Full of charm, Turning Red delivers a fun, heartfelt story with relatable themes capable of both entertaining and reassuring young viewers.
