After Mulan last September and now Raya and the Last Dragon - Walt Disney Animation's 59th feature film directed by Don Hall and Carlos López Estrada - it seems that Premier Access has become the exclusive release strategy for the studio's Asian princesses, ultimately impairing any real progression for Asian representation in Hollywood entertainment.
Raya and the Last Dragon features Disney's first South East Asian princess, representing over 670 million people. Yet its opening box office takings have been soft and it is unknown how many Disney+ subscribers have paid to unlock it at home (Mulan's launch was...complicated). It is therefore likely that Raya's story will go largely unseen due to the streaming platform's premium price-point and the unfortunate timing theatrically. I just hope that it doesn't take too long for the world to discover this (already underrated) gem.
Set in Kumandra, a once harmonious magical kingdom now shattered into 5 conflicting lands (Talon, Tail, Spine, Fang and Heart), Raya and the Last Dragon has some of Disney's best world-building in recent memory. Each land is visually distinct with plenty of character - Fang has its angry assassins and even angrier cats, Talon is home to the unlikeliest of pickpockets and Spine has an eery population of 1. But what all of the lands have in common is that they live in fear of the dreaded Droon, a plague-like fire that has taken the lives of many.
It is quite timely that Raya's villain isn't a person or a monster, but a relentless virus that shows no remorse for its victims. It has turned Kumandra into, as Raya puts it, a "world of orphans" where everybody has been touched by loss. The screenplay, written by Qui Nguyen and Adele Lim, illustrates this beautifully in a number of the film's more muted scenes where characters - old and young - grieve their experiences, losses and memories. They long for better days where they can be reunited with their loved ones. Thus leaving an underlying sense of sorrow and raising the emotional stakes of Raya's quest.
Well, what is Raya's quest? Accompanied by the legendary water-dragon Sisu (voiced by Awkwafina), the young warrior is searching for the missing pieces of the ancient dragon gemstone. Its magical powers are capable of defeating the Droon, resurrecting the fallen and restoring her father's dream of unity in Kumandra. This adventure-style narrative is fun yet familiar - Raya's separation from her father is straight out of The Lion King - and is enlivened by an abundance of comical, charming and well-written characters.
Weirdly, Raya is the least interesting of the group. Although rare glimmers of her personality do shine throughout (sassy one-liners like "Hey princess undercut") , it took me two watches before I understood and connected with the character - unusual for a guy who has a history of falling in love with Disney heroines as soon as they appear on-screen. Raya (voiced by the lovely Kelly Marie Tran) is a congenial and resilient leader. She is also smart, courageous and a skilled fighter. However, it is Raya's difficulties with trust that are at the focal point of her arc. The execution is subtle and could be more powerful, but she must overcome this narrow mindset in order to achieve her ambitious goals.
Luckily, Raya - the character and the film - has Sisu, a water-dragon with a hilariously sarcastic sense of humour. Awkwafina gets to play in Josh Gad's ballpark, and kills it. She's never been funnier. Sisu is an embodiment of many Asian values and beliefs, one of which being the importance of gift-giving (gifts are usually given to show respect, gratitude, friendship, love or hospitality). She sees this act as the solution to any problem and her comical yet sweet naivety leads to some pretty priceless moments (e.g. confidently proclaiming "I'll be buying this with credit!" during her shopping spree across Talon). The animators also incorporate physical humour, offering even more amusement.
In addition, Sisu and her dragon family symbolise Asia's collectivist culture and religious ideology. The dragons are spiritual, God-like beings that are respected, idolised and celebrated in Kumandra's history. Raya's relationship with Sisu could be read as an allegory for her relationship with God: Sisu offers wise advice ("take the first step, even before you're ready") to help Raya learn compelling lessons of trust and faith.
Raya's adversary Namaari worships the dragons too. Namaari is another well-written character, established early-on in a shocking extended prologue as deceitful and greedy. However, Walt Disney Animation is overdue a new irredeemably evil villain - there hasn't been one since Mother Gothel in 2010's Tangled! The film's other supporting characters are all fantastic: Captain Boun has charisma, Tuc Tuc is adorable, Baby Noi is very funny and Tong's backstory is devastating. Putting the support in supporting, these characters compensate for the film's often vanilla protagonist.
Its heroine isn't as compelling as her contemporaries and the narrative is far from revolutionary but Raya and the Last Dragon has gorgeous animation, a terrific score and lively martial arts fighting sequences. Exchange music for the action, and Raya and the Last Dragon fits right in line with the trusted Disney formula.
