|Directed by||:||Lee Unkrich||Produced by||:||Darla K. Anderson||Starring||:||Anthony Gonzalez, Gael García Bernal, Benjamin Bratt, Renée Victor, Ana Ofelia Murguia||Production company||:||Walt Disney Pictures, Pixar Animation Studios||Country||:||United States|
Coco will challenge the way you look at death
How Pixar's latest draws from the traditions of Día de Muertos and its concepts of the 'final death'
You can tell you’re watching a Pixar movie if you’re having an existential crisis.
The studio has honed causing emotional damage to full-grown adults into a fine art, not only interjecting their films with some well-placed tragedy, but drawing on an interdisciplinary toolbox to wreak havoc with our basic concepts of the world: Inside Out, for example, manipulated scientific understandings of memory in order to make you blubber like an idiot over poor Bing Bong.
Pixar’s latest, Coco, is certainly no different. On the surface, it’s the story of a young boy named Miguel (Anthony Gonzalez), who is accidentally transported to the Land of the Dead, where he seeks the aid of his great-great-grandfather to help him return home.
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The film opens on Día de Muertos (Day of the Dead), in which Miguel’s family, like so many in Mexico, gather round to make offerings and remembrances to their dead ancestors.