Turning Red (Domee Shi, 2022), Pixar's latest animation, follows the coming-of-age journey of Meilin Lee (Rosalie Chiang) and is quickly gaining traction on social media, sparking important conversations.
Eleven years ago, Domee Shi was an intern at Pixar. Now, she’s made history as the first woman to solo-direct a feature in the studio’s 36-year history. Shi is also part of a marginalized ethnic group in the audiovisual industry, where only 6% of workers are Asian. This film marks only the second time an Asian lead character has taken centre stage, the first being in Up (Peter Docter, 2009).
The film resonates with contemporary audiences due to its diversity and representation. It integrates this diversity seamlessly into the story, rather than forcing identity politics into the plot. This approach might reflect Shi’s own experiences as a Chinese immigrant in Toronto, a city known for its multiculturalism. Turning Red features an Asian protagonist who defies the model minority stereotype, and the animation pays homage to Asian culture with visual elements, Cantonese dialogue, and manga influences.
The film also stands out for its focus on puberty, a theme often either overlooked or superficially handled in cinema. Unlike many films that focus on teenage hormones, Turning Red addresses menstruation—a topic shrouded in societal taboo—with an open and honest approach. This portrayal has sparked some controversy, particularly regarding its age rating and the depiction of "inappropriate" scenes.
A critique of the film is its portrayal of menstrual products, focusing exclusively on disposable pads. While these products are accessible and affordable, they also raise environmental and health concerns. It's also worth noting the troubling history of gynaecology and reproductive health, including unethical experiments and forced sterilizations affecting marginalized communities.
Period poverty, the lack of access to menstrual products and sanitation, is a global issue highlighted in the Hindi short documentary Period. End of Sentence (Rayka Zehtabchi, 2018).
Turning Red appeals to a broad audience, with its coming-of-age narrative and references from the late 1990s to early 2000s. While it addresses menstruation, it also offers essential messages beyond this theme.
Pixar’s animation subverts traditional Disney formulas in several ways, such as through its diverse cast and lack of a villain, which may reflect the current trend of false villains and cancel culture. The film also challenges traditional gender roles, with Meilin’s father taking on domestic duties and female characters being more active. Its ending promotes messages of female empowerment, ancestry, sisterhood, self-love, and self-acceptance.
The film uses metaphors to enrich its story. Meilin’s name, meaning “beautiful rose” or “beautiful gem,” and the color red—present in her clothes and hairstyle—symbolize power and anger. The protagonist’s mother, Ming, whose name means “bright,” reflects her perfectionist and overprotective nature. The connection between lunar phases and menstrual cycles is also highlighted, drawing on historical beliefs that the moon’s phases are reminders of menstruation.
However, Turning Red has some drawbacks. Its plot shares similarities with Disney’s Encanto (Byron Howard and Jared Bush, 2021) and the werewolf myth, adapted for a female protagonist. The film also continues Disney’s trend of camouflaging minorities into other bodies, as seen in films like The Emperor’s New Groove (Mark Dindal, 2000), Brother Bear (Aaron Blaise and Robert Walker, 2003), The Princess and the Frog (John Musker and Ron Clements, 2009), and Soul (Peter Docter and Kemp Powers, 2020).
Despite these critiques, Pixar’s Turning Red is a must-watch for both older and younger audiences. It offers valuable insights into menstruation and puberty, and serves as a reflection for male critics and conservative viewers to reconsider their perspectives on women’s bodies.
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