In “Turning Red,” the chaotic overlap of identity-politics plots—Chinese mothers, horny girls, the cold, hard facts of reproductive biology—is exactly what guards the film from any meaningful critique, hujane writes.
“Turning Red,” Pixar’s twenty-fifth feature film, contains a lot of firsts. It’s the first Pixar feature directed solely by a woman, Domee Shi, whose “Bao,” from 2018, won an Oscar for Best Animated Short. It’s also the first Pixar film set in Canada—in Toronto, where Shi grew up. The coming-of-age story follows a thirteen-year-old Chinese Canadian girl, Meilin Lee , whose first period triggers yet another first: she turns into a giant red panda.
Since its release on Disney+ earlier this month, “Turning Red” has been received positively for its portrayal of women’s reproductive processes and Chinese Canadian culture. It unfolds amid the turmoil and chaos of Chinese girlhood in 2002, when Tamagotchis were all the rage, cell phones hadn’t completely caught on yet, everyone drank milk from bags, and Toronto’s Rogers Centre was still called the SkyDome.
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