awkwafina – Smaller Pictures

Raya and the Last Dragon (2021)

Disney’s latest animation, Raya and the Last Dragon continues the inclusion of strong female characters being incorporated into the Disney universe. Taking inspiration from an array of Southeast Asian cultures, the film takes place in Kumandra, a nation that is divided into five tribes following a power struggle between them that ended when Sisu, the last dragon, concentrated her power forming a magical gem that brings peace. Raya, the Princess of Heart, is tasked with recruiting all the pieces of the gem after it is broken. Travelling to the other four lands: Tail, Talon, Spine and Fang, Raya and Sisu work together to restore peace and bring Kumandra to its former glory.

Beautifully animated with fantastic characters that we have come to expect from the current Revival Era, Raya and the Last Dragon feels more mature than previous releases as it isn’t afraid to showcase the violence of conflict and the grief of loss. The film is directed by Don Hall and Carlos López Estrada with a screenplay written by Qui Nguyen and Adele Lim and it is clear that a lot of research has gone into developing the backstory and origin to ensure that it is a respectful and accurate depiction while also maintaining an original story that is both captivating and moving. The animation itself is rich in colour and intricately details. From the opening scene, you feel engrossed into the world and the culture from the animation style and the immersion of cultural folklore. Whether travelling through the rough sands of Tail to the wintery scenes in Spine, Raya and the Last Dragon is filled with breathtaking scenery, well developed characters and a story that takes you on a journey through folklore and adventure making it enjoyable for audiences of all ages.

Kelly Marie Tran provides a great leading performance as the voice of Raya. Having proven herself a worthy actress as Rose in Star Wars: The Last Jedi, Tran is perfectly cast as Raya as she provides the confidence and strength required of the character. We really feel Raya’s struggle and fight as she is faced with numerous obstacles that threaten to turn everyone in Kumandra to stone. Raya doesn’t sing about her feelings nor does she have a love interest, the film is solely about her and her mission to restore the gem and bring peace to the land. The scenes where Raya and Fang’s Princess Namaari collide are brilliant thanks to the intense performances from Tran and Gemma Chan, who voices the latter.

Awkafina is one of the most exciting actresses working today and has already shown a wide range through various genres and mediums so it makes sense that Disney tapped her to voice the lovable dragon, Sisu. The design of Sisu is absolutely breathtaking using a wonderful pastel colour palette that is rich in blues which make her stand out visually. Awkwafina’s signature humour and charisma helps Sisu’s personality come forward and elevates the character from a mythical Godlike creature to a more humanised interpretation that feels more relatable. This allows for great moments between Sisu and Raya as the former’s optimism helps drive the latter forward.

The score composed by James Newton Howard takes its inspiration from Southeast Asia and helps to elevate the action. There are some really wonderful pieces such as the solemn melancholic music that plays as Raya’s father is turned to stone and the more upbeat, exciting piece that plays as Raya is chasing a baby around Talon to get the gem back. Howard is one of the most prolific composers in the film industry and can always be relied upon to enhance the viewing experience. Raya and the Last Dragon is no exception. Unlike most Disney films (and Disney Princess films especially), there are no songs in this film so making sure that the music was just as captivating was important so as to keep younger audience’s attentive and driving the story forwards.

Overall, Raya and the Last Dragon deserved a longer cinematic release. A film of such richness and spectacle was a treat to see on the big screen and really allowed the details to stand out. After a year long absence, Disney Animation Studio has come back with a huge hit on their hands that is surely going to find itself on the nomination list of many Best Animated Feature categories when awards season arrives. The world of Raya and the Last Dragon is one that would be wonderful to revisit in the future thanks to the stellar performances from the cast and the writers.

What did you think of Raya and the Last Dragon? Let me know in the comments below!

Raya and the Last Dragon is available to watch on Disney+ now!

The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments