Lost Sofia (Katherine Chediak Putnam, Dean W. Law, L.G. Tubaldini Jr, 2023) directly from the silver screen. This film introduces the first unofficial Disney Brazilian princess, an active and relatable character. It is an adaptation of a homonymous book that left a mark on my adolescence. The story revolves around the journey of Sofia (Giovanna Grigio), an unromantic bookworm who travels back in time to the 19th century.
Lost Sofia clearly capitalizes on the trend set by the Bridgerton (2020-) series and draws inspiration from timeless classics by Jane Austen, making extensive use of romantic aesthetics.
On one hand, the mise-en-scène elements of the period drama are breathtaking. They embellish and create a nostalgic atmosphere in a bucolic setting with high-key lighting. The use of colours adds an extra layer to the storytelling. The protagonist, Sofia, is often seen wearing pink and floral prints along with her leather jacket and Converse shoes. These choices imply her femininity and romantic mindset with a modern twist. Elisa (Nathália Falcão) opts for blue, symbolizing trust and dependability. Valentina (Emira Sophia) dons red, a colour associated with power and rebellion, which aligns with her stance against her grandmother's traditional values. Sr. Santiago (Diego Montez) wears purple, a colour often associated with antagonists. Teodora (Beatriz Arantes) is seen in green, a colour representing poison and inexperience.
On the other hand, the story is set in Brazil, specifically in 1830. The sense of nostalgia is even stronger when minorities are portrayed in powerful roles. However, it's crucial to note that in 1830, Brazil was grappling with the issue of African slavery, and women had only recently gained the right to pursue further education beyond high school. Not to mention, disabled individuals and the LGBT+ community existed during that period but were largely invisible in the eyes of society. While the omission of these historical complexities may be understandable in creating an idyllic setting, it also raises significant concerns. Even though that era was sombre and marked by wounds in Brazilian history, it remains important in the context of the country's contemporary culture and its ongoing struggles for equality to all groups. Additionally, in the contemporary timeframe of the story, there appears to be only one Black character who plays a secondary role as the best friend of the protagonist.
Lost Sofia differs from the book in many aspects, but its essence remains intact.
In the story, Sofia is portrayed as a character who exhibits both active and passive traits. She can defend herself, showing agency, but at the same time, she often finds herself in situations where she needs to be rescued by Ian Clarke, presenting a passive "damsel in distress" element. It is worth noting that Sofia subverts traditional Disney princess tropes by embracing female pleasure through her choices, including engaging in premarital sex, taking initiative in romantic encounters, and openly discussing her attraction to men. She willingly sacrifices her feminist privileges in the name of true love. Her character challenges common gender stereotypes and empowers Sofia as a female protagonist. Ian Clarke (Bruno Montaleone), on the other hand, defies typical male patterns by assuming caregiving responsibilities for his sister Elisa and his horses. Additionally, Ian's passion for painting reflects a traditionally feminine role associated with creativity while men are usually by the intellect. Sofia and Ian still share similarities with the iconic couple of Darcy and Elizabeth from Jane Austen's Pride and Prejudice, as they experience a "love at first sight" dynamic. Moreover, the inclusion of female rivalry in this live action fairy tale adds a problematic.
An interesting and noteworthy aspect is how Lost Sofia addresses historical issues that, unfortunately, remain relevant today.
The film explores themes such as the societal pressure for women to marry, the scrutiny and criticism women face for their clothing choices with sexual assault or false allegations. It also briefly touches on beauty standards, highlighting that Sofia's body measurements do not align with the expectations of the past time, emphasizing that these standards are not fixed but mutable concepts. The film portrays Sofia as a character who faces accusations of being "crazy" and involved in witchcraft due to her knowledge and independent thinking. In my opinion, retrograde depictions were the traditional debutante ball and tampons. The first was historically used to present daughters to society in order to attract potential suitors, which is a prevailed old-fashioned tradition. The tampon scene highlights a taboo through omission from this natural aspect of lives. There is a subtle critique to the present-day shallow love life around swipping apps.
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