A lot has been said about this beautiful moment at the end of the movie, when Pepa is finally able to dance happily under the hail...
BUT what about this other moment right after???
Alma and Bruno are looking directly at Pepa. Please, notice how lovingly Alma looks at her daughter! After the whole movie exhorting her to get rid of her clouds, now she’s looking her dance under the hail with such a loving and proud face that ASHFKLHA, I can’t. And Bruno’s smile! He’s super happy to see his sister free at last, embracing her emotions.
Even if this shot lasts just a second, I think it’s beautiful how the movie shows us not just Pepa enjoying her gift, but the rest of the people happy about it.
BONUS: Mirabel was laughing looking at her tía too, but then she looks around and notices her tío reaction, and then she looks happy about Bruno being happy about Pepa. Amazing chain of intertwined feelings portrayed in two seconds XD
Bruno’s room?? Analysis??? Theory? Headcanon?? Thingy???
Okay, I promise this will get to Bruno’s room but for starters, I think I should talk about how the casita’s rooms are implied to work. Sorry but it’s important!!
In both the film and the concepts, it very much seems that the casita’s rooms reflect a combination of who their owners are to others, and who their owners want to be. We only see a small handful of rooms in the film but this is best seen in Isabela’s room, which is a perfect, flowery, empty room. There isn’t any furniture that we can really see besides her hanging bed, the rest is all for show, literally advertising how perfect she is with topiaries of herself making “perfect, practiced poses”. This is who she wants, and strives to be for others, but secretly worries that she is lacking in identity outside of what she portrays to others.
Why is this important? Because her room changes with her. In “What Else Can I Do” her entire room shifts and changes just as she does– the more she explores herself and the freedom and passions she never knew she was capable of, the room grows more colorful and wild and more difficult to navigate with her.
The concepts for Luisa’s room were similar– her room concepts consisted of various training areas with a secret room that led to an amusement park– a place where she could just relax and be a kid, but that she felt the need to hide it from others to appear strong. Jared Bush also recently confirmed that Pepa’s room never had “a place for her to let loose”, that that was “part of her problem”-- insinuating she’s been taught to compartmentalize and suppress her emotions instead of letting them go.
So now… we talk about Bruno.
So firstly. No way did Bruno’s room always look like… that. Casita would have never given a five-year-old that room. And it logically doesn’t make sense!! We know from extra content that when Bruno first got his gift he was the “golden child”-- that people were impressed by his gift to see the future, it was only when they believed that he caused bad things to happen that they rejected him. Does Bruno’s room really reflect that golden child?
One thing I noticed was that the wood to Bruno’s room is… hardwood. Underneath all that sand and rock is the remnants of the beginnings of a normal room. It seems like such an odd choice and detail to put there when the rest of the room is all built into natural surroundings. It looks like the remnants of a living space that’s just been covered up to the point of becoming unlivable. And when we examine the specific ways this room has become unlivable, it starts to paint a very interesting picture about Bruno and how he perceives himself.
So we know that over the years Bruno’s reputation has shifted from the “star child of the family” to the Madrigal that no one talks about except in hushed whispers– the one that people are afraid of and dislike. We know from implications as well as discussions from Jared Bush that Bruno had already started isolating himself long before leaving to protect Mirabel.
So what better way to isolate yourself than a literal mountain of spiraling stairs?
They’re so impossibly long that it’s clearly meant to keep most sane people out (sorry Mirabel, it’s true). And we know he didn’t have a shortcut, he used the excuse of the tower having a lot of stairs as a reason to not live there. But again, and I can’t stress this enough, no way did casita give a five-year-old that amount of stairs (and in such a dangerous fashion!).
They’re there to keep people out. Now whether this is because Bruno just wants to avoid them and keep people away from him, whether this is to keep people from harassing him for visions, or maybe (and likely) a combination of both, isn’t explicitly stated. We know that Bruno’s visions can be both emotionally and physically exhausting and draining– to the point of physical pain and weakness. It isn’t much of a surprise that he would want to avoid people asking for visions.
But personally? I think it was also out of a desire to protect people as well. He really starts to internalize this idea that he makes bad things happen, so the more he can avoid people, and the visions, the better. The more he hides away, the more a burden it all becomes, the longer and longer the stairs get.
They’re eventually disconnected completely from the door with an enormous gap. I think this was the last straw when Bruno broke the vision and left, and his door stopped glowing. It disconnected from the inner sanctum completely and the entire room disconnected from the casita. When Bruno disconnected from his family. When he rejected his gift, and with it, himself.
Mirabel knows the casita to the point of even being able to understand its non-verbal communication like she would anyone else, and she seems shocked that it cannot help in Bruno’s room, implying that this isn’t the norm for the magical rooms. His room is cut off because he is cut off. And the deleted scene “Chores” contributes to this idea. Félix says that “his room turned all rotten and gross and Abuela was like ‘no one is ever allowed in there again.’” We know that Alma forbids anyone from going into Bruno’s room because it’s ‘off-limits”, and we can clearly see how dangerous and unstable the room has got, so this isn’t out of the realm of possibility for film canon either. Like Luisa said, his room is off-limits for a reason.
His room refused to let anyone find that vision.
AND NOW FOR THE BEST PART. THE INNER CAVERN.
So after Mirabel risks her life to get to the inner part of Bruno’s room, we finally see these relief sculptures of Bruno on the walls. There’s no beating around the bush, they are terrifying. Empty eyes, blank expressions, gaping mouths. (And they pretty much prove that Bruno’s room didn’t look this way because they display the steps of his ritual, which Jared confirmed he invented himself later on after receiving his gift.) It’s a terrifying depiction of himself, meant to scare people away. He’s considered a curse, treated like the village bogeyman, and he’s clearly internalized these ideas about himself because his room reflects it so much here, in the same fashion that Isabela’s room flaunts the topiaries of her perfect posed stature.
But here’s something I have to mention. The designers did not simply pull this design out of thin air. It is heavily inspired by existing Colombian architecture… specifically burial tombs. The Tierradentro tombs, located in the southwest region of the nation in the Inzá municipality, were made somewhere between 600 and 900 CE and served as a burial site for elite groups. Their structural and decorative features are entirely unique and not found anywhere else on Earth, and the geometrical patterns within them signify the individuals buried there.
So. Bruno’s room is based on an existing gravesite. That’s a lot to unpack.
Bruno feels that he, or at least the version of himself that his family wants from him, is dead. The star child. He had tried to cling to this idea, to be someone they could be proud of, but he just doesn’t know how. His family no longer understands him. He feels like a stranger who has replaced the person they used to love, who’s now buried in a literal tomb of self-doubt.
A tomb that Mirabel almost dies in because of how unstable and disconnected it has become. A tomb that follows an infinitely long spiral staircase up to a room filled with spiraling imagery– all to find a man who truly has spiraled. And one who isn’t there because he is so terrified of hurting people.
Bruno’s room looks the way it does because of his warped self-image that has become so twisted over the years. This internalized perception that he hurts people- that he causes these twists of fate- and while I think he knows on a logical level that this isn’t how his gift works, clearly doubt has infected the way he feels. We can see it in the way he treats Mirabel, wanting to push her away at first because he’s scared he’ll somehow hurt her, refusing to do visions, refusing to help until she tells him that the family needs him. And that’s all he ever wanted, really.
Maybe his next room won’t have all those stairs.
Maybe someone before me has already written about this, but when I was making this gifset, I noticed:
1) Bruno doesn't look at the vision with his eyes, unlike Mirabel. In this gif, we can see her turn her head to the picture, while Bruno keeps looking straight ahead.
This suggests to me that he doesn't see his visions with his eyes; it is as if they are projected immediately into his brain (like hallucinations?). But at the same time, apparently, he doesn't lose his normal vision, because then he notices the butterfly already with his eyes. So, what is it like to see with both eyes and brain at the same time? It seems to me that it should be uncomfortable at the very least.
2) Next, we see him lower his eyes and squeeze them shut, and then let go of Mirabel's hands.
And in this gif
we see him tilt his head rather sharply and almost clench his hands into fists, while almost touching his head with them at the same time. And in these frames (I tried to choose the best ones) you can see him clenching his teeth and squeezing his eyes shut quite well.
And the picture of the vision becomes dim and almost disappears.
And, you know, you can clearly hear his loud breathing when he starts to speak, and even a short phrase is only given to him on the second try.
So the only conclusion is... It hurts him. It really hurts, and probably hurts a lot. This is not an assumption, not a headcanon, not a theory. It's a fact. Because if he was upset about another bad vision, why would he let Mirabel go and clench his teeth so hard? In the next gif, we don't see that anymore
but here, look at the effort with which Mirabel lifts him up. It's hard for him to even lift himself up...
And his phrase "I gotta stop" makes me think he probably means "I gotta stop OR something bad will happen to me".
But then we see his strength gradually return to him once he realizes he sees something good. So here's my headcanon: bad visions wear Bruno down, and good visions, on the other hand, give him strength. The only problem is that he's only seen bad visions most of his life...
So my point is this... We didn't need Jared Bush to confirm that Bruno's visions exhaust him. We just needed to take a closer look at this scene…
OKOKOKOK THE OFFICIAL ENCANTO TWITTER JUST UPLOADED THESE POSTERS OF EACH OF THE DOORS SO YOU KNOW THAT IM ABOUT TO DO AN ANALYSIS ON ALL OF THEM
As always feel free to give me Encanto analysis, art or fanfic suggestions because I’m obsessed
This look so long :’)
Ok! First Is Mirabels door, first of all its really sad to see Mirabel having to use a nursery at 15 because she wasn’t ‘special’ enough to get her own room instead having to share. Also since her door isn’t magical, it doesn’t really have any sign of belonging to her like everyone else’s, the only sign that the room belongs to her is the painted on ‘Mirabel’ . it’s more dull and has no sign it belongs to her showing how different she’s really treated.also I noticed that she’s not got butterflies around her room which seemed weird to me considering it was mainly her that was promoted with butterflies but maybe it’s a sign of where the magic is in the house and with her just having a normal room butterflies don’t tend to stay there.
Antonio’s door is probably exactly what I thought it would be, there isn’t but to it considering he’s just getting his when the movie starts. The door isn’t as worn down or scraped as the others and I really like how they designed him and the animals in the 2D design. I really like how the animals look I think they look really cool
K! Next up is Isabelas door, I like how it clearly shows how much her powers are appart of her with the flowers surrounding the door and being a main part of the design on top of it. I also noticed while writing this that the door handles have the initial of the family members name engraved onto the handle. To me it seems like she takes a lot of care of her door making sure it looks presentable and it makes sense considering she’s known as the golden child.
Luisas door is honestly what I thought it would be. It represents her powers and how she’s built up to be this strong, powerful and smiling, which could play into how she feels like she has to be stoic and happy. Not much to say about her door I just think it looks really cool.
I genuinely love how camilos door looks, with the style hes drawn and the shilloetes of what I think is Mirabel and Abuela Alma. Honestly Camilos design in general is just really appealing to me. Also don’t have much to say about his door either I just really like how it’s drawn and Camilo in general
I think Delores door is also really cool but the one thing I find weird about it how instead of looking happy or peaceful like everyone’s else’s she lookes more nervous or worried. I don’t know if that’s just me that thinks that but I’ve always thought hearing everything would be stressful at times with how when your sleeping or trying to do basically anything you hear everything around you but it’s more a headcanon. Other than the fact she looks nervous I don’t have much else to say about it.
Julietas door is honestly amazing to me. I like how she and the herbs are drawn and how genuinely caring she looks in it. I also like Julietas design in general with the plants and herbs sticking out her pocket and the designs on the pockets. I also really like Agustin’s design, he honestly looks like such a dad.
I probably have the least to say about Pepas door other than the fact I like the style it’s drawn in. Other than that I like how the door only shows the good side of her power and not the bad side that comes with you emotions being connected to the weather compared to Bruno’s who looks angry or even resentful.
I like how Abuela Almas door is different from everyone else’s showing how shes the matriarch and also that she was the first one to experience the magic of the house and the gifts. Considering she’s the “Caretaker of the candle” I like how her portrait is her surrounded by the light of the candle. I also noticed that the butterflies that surround everyone is on the candle.
Okie! The Last one is Bruno’s door, I still find it sad that they kicked bruno out of the family and isolated him over something he clearly can’t control. And even after they basically kicked his out they border up his room? Imagine when Bruno eventually comes back to the house he sees his door has lost his magic and is boarded away. I also like how the doors paint is scratched away clearly showing how no one has bothered to repaint it. I also like how his door is no longer flowing considering how the house represents the family’s relationship it makes sense for his part to be falling apart.
WAIT WAIT WAIT
Okay so the triplet’s outfits are their own colors right?? Blue for Julieta, yellow for Pepa, and green for Bruno—
Except I just noticed that while Julieta and Pepa’s outfits are completely their own colors right
underneath Bruno’s green ruana am I crazy or does he almost (or used to?) match Abuela
And by extension what does this say about the triplet’s personalities, relationships with Alma, individualism/dependency/what have you because with how symbolic everyone ELSE’s colors are (like Isabela’s dress being more purple than blue reflecting how she’s Alma’s favorite, etc) it’s gotta mean Something right
A (small-ish) rant thingy for Isabela and Mirabel’s “fixed” relationship. And how Isabela (probably) came to treat Mirabel the way she did.
Encanto’s following isn’t as active as it was a few weeks ago, so hopefully this means I won’t get as many pitchforks lol.
Just as a quick note, I am happy that Isabela and Mirabel patched things up. I just felt that it was rushed and underdeveloped and was kinda not well justified.
Welp, here we go. ᕕ( ᐛ )ᕗ
First off, I know that this is Disney and Mirabel had to resolve the issue with Isabela because the magic depended on it, but dang, if I had Isabela as my sister I wouldn’t have forgiven her after one song.
Also, I know they were both antagonistic towards each other, but Isabela is an adult. Why is a 20 something year old having beef with a teenager 6-7 years younger than her? Isabela taking out her jealousy on Mirabel for not being under the same kind of pressure for perfection is really no excuse, especially when she sees how abuela treats Mirabel.
She really thinks being ignored, looked down upon, and constantly being told to stay out of the way of more “talented” family members is somehow better than what she has, which is abuela’s love and adoration? I don’t believe it for a second.
What I do believe though, is that abuela’s treatment of Mirabel, i.e. condescending and always telling her she is in the way, always annoyed at everything she does for no reason at all, rubbed off on Isabela and she saw it as acceptable, maybe even a good thing, to further get abuela’s affection (think of all the teacher’s pet you know).
So she mistreats and look down on her sister because she saw abuela do it and feels it’s normal, if you’re not gifted or helpful you’re a burden and will be treated as such. It’s like seeing a bully and her lackey. At the start of the movie, their interactions are full of just mean spirited behaviour. I mean you can see the parallels in the two scenes below.
Another example is when Isabela says, “if you weren’t always trying so hard, you wouldn’t be in the way”. Even though she knows Mirabel tries so hard because she is the only one without a gift. Like… is that not unnecessarily cruel to anyone else?? A grown adult acting that way to a child??
She also tells Mirabel to apologise for something Mirabel wasn’t even responsible for (hello?? She was the one that turned Mariano’s nose into a “smashed papaya”, not Mirabel??). And just the overall smugness in her tone, despite the fact that Mirabel was doing what she did for the family’s sake really made it difficult for me to accept that Mirabel and her just became besties after they sang and ran about the roof tops for a bit.
My final point as to why I did not like how buddy buddy they made the sisters so quickly after is that, at the end of the movie, abuela apologised to Mirabel for hurting her. However Isabela did not. Not on screen anyway. How difficult would it have been to say “sorry I was kinda a spoiled asshole and I should have been a better older sister to you?” Apparently too difficult.
GUYS THEY CONFIRMED ENCANTO IS GETTING A CONTINUITION OF SOME KIND-
THIS IS NOT A DRILL-
Encanto Analysis: The hidden Kafkaesque aspect of the movie
One aspect that I have not found information in other plataforms is that Encanto has a connection to Franz Kafka's work "Metamorphosis" (that story about the guy who turns into an insect when he wakes up) through the character of Bruno Madrigal.
It is known that when he was younger, Bruno was the star of the family for his gift of seeing the future and people sought him out many times for him to use his gift (something confirmed by the director on his twitter). However, over the years, Bruno's fateful predictions made the town and later his own family consider him as someone to avoid, even Bruno himself walked away ending up (by his own decision and because he believed it was the best thing for everyone) being locked in a small room with things that were left over in the house and nobody in the family seemed to notice that they were gone for good, accompanied only by rats while he saw and heard how his family forbid even the mention of his name.
While in The Metamorphosis, the protagonist Gregor Samsa was the pillar and economic source of his family until he suddenly woke up turned into an insect without any explanation, scaring his boss and forced by his father to remain locked in his room, which later It became a kind of warehouse where they put everything that was left over. His relatives were also saddened by the predicament of their relative, but even so they did not mention his name.
Bruno and Gregor were rejected and isolated by society for reasons they couldn't control (seeing bad futures and transforming into an insect) while they had an authority figure who had high expectations which went down the drain when their respective calamities happened, for example Alma would be a combination of Gregor's parents, since the mother loves him and the father is strict and only watches over the economic/social aspect of the family and not the sentimental aspect.
They had figures close to whom they loved very much and they too but only to a certain extent, because Bruno had Julieta and Pepa while Gregor had his sister Grete.
Grete would be a combination of Julieta at the beginning of the book when she sought to understand her brother, fed him and loved him dearly, to later become Pepa, a grumpy sister who lost connection with her brother when he ruined an important event for her, such as the wedding for Pepa and a violin concert for Grete
Grete could also represent Isabela, since in her the family sees the opportunity to get her a good husband to forget the tragedy and shame caused (without wanting it) by the black sheep.
Despite having been treated so badly, the two of them still love their respective families and would do anything for them, their love being so great to the point of being unhealthy since both neglected their health and life so that others can live at peace without his presence. If Encanto had not been from Disney or for a children's audience, it is most likely that Bruno would have ended up the same as Gregor.
Dead, alone, believing that his family hates him and that he is a monster who only ruined their peace, happiness and chances to progress by being a burden to them.
I mention this in first place because Gabriel García Márquez, creator of the famous Colombian novel “100 years of solitude” of which Disney used some aspects to create Encanto, was an admirer of Kafka's works to the point of being an inspiration at the time of starting his career as a writer.
"García Márquez declared, on more than one occasion, that reading The Metamorphosis marked a before and after in his literary career for him. He explained that he perceived the narrative originality from the first line and this motivated him to want to do the same in his language. In his book of memoirs entitled Live to tell (2002), García Márquez recalls the authors who marked him in his childhood and youth, including Kafka."
Having into account that, it's not impossible to theorize that some of Kafka's works could be present in a colorful and lively movie as Encanto.
After all, each family has a Gregor Samsa or Bruno Madrigal of their own.
What she says: I’m fine.
What she’s actually thinking: At the end of Encanto when Bruno is reunited with his sisters, Pepa rushes him and lifts him up in a hug, which clearly shows she missed him and wanted him back home. This is initially surprising given how strict she is about discussing Bruno and how she spoke of him to Mirabel, but what if that’s all just been a front to keep herself from feeling the loss.
Pepa has likely been pressured her whole life to contain her negative emotions for the sake of the village and in the face of such a sudden and unexplained loss of her brother, she needed to keep her feelings on the issue in check, so the best way to avoid feeling the loss is to just not feel anything. And then, in addition to Pepa forbidding any mention of Bruno, this is reinforced by Abuela who at the time and especially after Mirabel didn’t get a gift, was most concerned with maintaining appearances. This could have led to the removal of the portraits in the stairway up to his tower and anything else he left in the house, because even seeing these little reminders can trigger the feelings of the loss.
And then!!! After all these years!!! To see Bruno come home and be accepted by Abuela, just to have this moment of relief that he is here!! And it’s ok!! And she doesn’t have to hold back or worry about the emotional/magical kick back because everyone’s powers were off in that moment, her brother is home and she really missed him and she doesn’t have to pretend otherwise anymore.
At the end, Alma tearfully states that Pedro sent Mirabel to her. I LOVE this line and was wondering if you could dissect it. Like, I see how both Pedro and Bruno are a lot like but do you see how Mirable is like Pedro?
The more I think about this movie, the clearer it gets to me that the reason I love it so much is not only because it is about family, but mostly because it is about transmission.
When you actively try to bring a family together, especially when many generations interact like it is the case here, what to you have to do ?
Communicate. Share. Heal.
A lot of the healing in Encanto is done through words, but they also have the ability to create full-on musical numbers to showcase their emotions / memories. I think a part of it is real because y'know, magic and everything, but it's also a poetic visual way to show what everyone is feeling. Not only is it more entertaining and involving as an audience but it serves a real purpose in the story : what you can see when you truly listen to what everyone has to say.
Words and songs matter, but small gestures do too...
I know I'm being cryptic and I'm not answering your question so far, I'm getting to it...
I made a post to highlight the visual parallels between Bruno and his father, noticing parallels is my jam, so here's another one I already mentioned in another post but want to elaborate on : the way they are holding each others hands as a comforting gesture...
I like to think that it comes from Pedro and Alma's relationship and was unconsciously transmitted through the family.
See, Pedro and Alma used to hold each other's hands a lot.
She does this with Bruno when he is nervous about his reunion with the family... I think this little affection display is not something new to them, she probably used it to comfort her children and show her love.
So, without even thinking about it, Bruno used it to comfort his niece.
And she, in turn, used it with her grandma.
See ? Transmission.
And it's all coming from Pedro.
Transmission plays a huge role in Encanto : the transmission of the family trauma as well as the transmission of love.
We don't know much about Pedro's personality...
We can tell from the Dos Oruguitas scene that he was caring, comforting, had a lot of humor and most importantly that he was deeply selfless and family-oriented.
Many people in this family felt like they had to sacrifice themselves for everyone else, but Bruno and Mirabel are probably the ones who are the most like him.
Hence their particular relationship with Alma...
Everyone in this family is avoiding open conflict.
But not Mirabel.
Mirabel is the first to stand up to her grandmother, not with agressive intentions, but by embracing her own vulnerability and defending others.
The stakes were different, but her grandfather walking hands up to people armed with machetes reminds me of that...
The courage to take a stand can move mountains.
And that's exactly what Mirabel did.
That's why, like the songs hinted to, she is the miracle that Alma asked Pedro for.
Bruno had to bare the extra burden and pressure of being Abuela’s only son.
It’s not much of a stretch to assume that Abuela may have hoped to have seen something of Pedro in Bruno’s face and personality.
And given the time period she may have expected Bruno to have become the head of the family, a provider.
In fact, the name Bruno can mean armour or protection. (according to Behind the Name website.) She wanted her son to become the strong one of the family.
However, it is a dangerous - if understandable thing - to expect a child to become a clone of a dead family member.
Bruno does look like his father, but he struggled to deal with the weight of expectations that Abuela placed upon him, as well struggling to deal with the mysteries and responsibilities of his gift.
He never married and we don’t know if he ever had any kind of relationships. His only friends seem to be the rats living in the walls.
Abuela may have felt some kind of disappointment in him, stemming from her own grief and trauma. Bruno would have picked up on this, even from a young age.
TL:DR: Poor Bruno
Another round of little details!
I've said it before, but the Brunito moment is one of my absolute favorites of the movie. However, besides the kiss, there's something else in this scene that always catches me:
The way Bruno reacts to his mother taking his hand.
He's totally in shock, he lets her kiss him without moving or complaining, but when Alma touches his hand, he reacts right away and takes her hand too. Even if it's a reflex response, he doesn't wait passively to be grabbed or leave his hand lifelessly in hers; he actively responds. And Alma doesn't even need to grip his hand first, because Bruno reacts at the mere touch, and turns his hand to meet hers and grip it too. He grips her hand tightly, and they squeeze each other's hand, while Bruno glances at them and gulps.
It's something very little, but I love it so much, not just because it's a loving gesture from Alma towards his son, but also an eager answer from Bruno towards his mother, revealing how much she means for him. After this, she takes him to the horse, still gripping his hand, and then offers him her hand again to help him get on the horse. Mirabel is the one guiding the animal to go back home, but the one taking Bruno along is Alma.
After all, Alma is the one bringing him home.
BONUS: a shot of Bruno's stunned face looking at his mother in the eye for the first time in ten years and discovering she rather hug him than punch him.
Can we please talk about how Bruno spends 10 years hiding in the walls, listening to his family and community essentially shunning or verbal tearing him down, and his response is to profusely APOLOGIZE TO THEM???
Like, he literally has internalized their garbage to the point of Believing he’s a worthless, nothing, villain. :’( It seriously just breaks my heart.
He’s basically defaulting to appeasing them to desperately make some thing as (in his mind) Unwanted as his Mere Existence more tolerable to them. He’s literally in survival mode.
If anyone should be apologizing it’s the rest of the Madrigals and the town!! (Like Abuela does technically apologize at the beginning of “All of You”, but it’s pretty general/blanket...) I do appreciate that his sisters (and Agustín lol) have their lil pep-talk verse to build up his confidence... but
Bruno deserves healing. Like.. honey.. it’s not your fault
None of it was your fault. :’(
Am i the only one that's been replaying the "Bruno apologizes to Pepa for the wedding" scene strictly because that guy's moves were so satisfying to watch?? The dramatics☆ the flow☆the salt and sugar throw☆the full on performance!! (Now we know where Camilo got his flare from/lh) [i really hope me using tone tags is okay]
Oh, yes! In that scene, everyone's attention (not just the audience, but all the Madrigals) was on Bruno alone! No one expected such a quiet and modest man like him to start singing and dancing!
For starters, notice: he involves Pepa in his dance only after she herself has given him her hand. Without her consent, he wouldn't do it. Without her consent, perhaps this whole scene would not have happened.
Besides, we see that Bruno is strong enough: he was able to spin Pepa, who probably weighs more than he does. And yes, Bruno knows how to spin a dance partner! He doesn't just "pull" her out of her place, he exactly launches her into the right trajectory! So, perhaps Bruno was able and loved to dance when he was younger, otherwise where did he get these skills?
Next. He asks for an apology, literally on his knees! Oh Bruno, my beloved!.. And look how softly, how carefully he holds her hand and how gently he pats it! So gently! Yes, Bruno certainly has the manners of a gentleman...
Oh, and next, pay attention! The only scene in the entire cartoon where Bruno has, BY HIS OWN INITIATIVE, a hug! After spinning, he hugs both of them at once, Pepa and Félix, with also patting Félix on the back (maybe they really were best friends before? I need more of their interaction!).
Bruno pours salt and sugar again. (How many of these supplies does he have in his pockets? So when he was sneaking into the kitchen while living within the walls, he faced the choice of stuffing his pockets with arepas or salt and chose the latter? Oh, I digress!)
And finally, he is spinning again.
So Bruno did a fast and energetic dance. In all this, he didn't trip over the tile splinters on the floor, didn't get tangled up in his poncho (as he did in the moment when he defended Mirabel from Alma), sang pretty well and didn't even get out of breath (which again confirms his remarkable physicality!). So, we see him in this scene as agile, nimble, graceful, and quite gentle. I don't know about the rest of us, but personally, I would have spun in a Colombian dance with him!
And yes, there's definitely something of an uncle in Camilo! (And in that case, I have a question for Abuelo Pedro! Surely they got those talents from him!)
I love movies and shows about smart people but I really appreciate that Encanto is kinda the antithesis of that. Like some of the characters are smart; at the very least Bruno's gift is a METAPHOR for being smart, but that's also not the thing that makes him happy or solves his problems at all and actually he seems to greatly prefer things that have nothing to do with that and his problems are directly caused by that and the fallout of that. And it's like yeah maybe being smart isn't everything, maybe it isn't ANYTHING compared to things like emotional maturity and empathy.
Hi I have Encanto Brainrot and wanted to point out something I noticed about how both the characters and soundtrack refer to Bruno throughout the movie so here we go
So once Mirabel realizes Bruno’s been hiding within the walls of Casita this whole time, it’s clear to her that her uncle isn’t exactly the villain everyone has made him out to be, but things are still… off. When she prompts him to explain why he “left but didn’t leave,” he weakly tries convincing her that it was because “the mountains around the Encanto are pretty tall,” and that as long as he stays in Casita he has access to the “free food” his sister makes, and even the soundtrack kinda backs him up. The song that plays while Bruno leads Mirabel back to where he’d been living is titled “The Rat’s Lair”
Which at first, makes sense because oh yeah he’s got hella rats, lots of rats live with him in the walls, but then you notice the apostrophe is in the wrong place to be referring to Bruno’s companions, meaning the Rat is actually him—this is what he’s been reduced to, just a Rat In The Walls, just like Dolores hints to Mirabel at breakfast that morning, an estranged nutcase leeching off what his home and family and can spare without them ever knowing—
And only after Mirabel discovers the crack in the wall of the dining room and the crude replica of his plate drawn on the table, when Bruno admits to her that he stayed because he loves his family but wasn’t sure how to help them, does the narrative and soundtrack shift to paint him in a good light, the next song affectionately titled “Tío Bruno” as he explains to his niece the vision and why he left.
This probably isn’t interesting in the least but once I realized this I was just like damn how many layers deep does the symbolism in this movie go lmao, also Rat Man Rat Man I Just Think He’s Neat
I was thinking about We don't talk about Bruno and one line really got my attention.
"Your fate is sealed when your prophecy is read"
Which basically means all those people think the bad things only happened to them because Bruno read the prophecy and saw it. Which is nuts, Bruno's prophecys are just warnings, he is just telling thigns that will happen, he is not changing the future.
And during the entire song people say: "He told me". I think one the lines that exemplify this idea better is, Félix one: "Why did he tell us?"
And then what Bruno did to protect Mirabel? He broke her prophecy and hid it. If no one sees it maybe it won't be true. Because the fate is sealed when the prophecy is read.
I'm not sure if Bruno himself believes or believed it, but he was aware that people did.
The importance of apologizing and why it isn't - An Encanto analysis.
Today I watched Encanto again and something striked me: Mirabel said sorry to Isabela and it didn't improve their relationship but when Abuela apologized it did.
Why is that? What's the difference?
Honestly I thought the answer was obvious but with the number of people complaining that the family didn't apologize to Bruno and Mirabel apparently not.
When Mirabel apologized she had an idea in mind: saving the miracle. And she did because Isabela asked her to apologize for "ruining her life", which Mirabel didn't understand because she thought Isabela was only being dramatic. Then her "sorry" wasn't sincere at all.
Finally their relationship improved because Mirabel insulted her while being completely honest with her. And when Isabela did the same in yelling the truth at her, that she never wanted to marry Mariano.
On the other side when Abuela apologized she didn't have any idea in mind, only wishing to be forgiven though she obvious didn't really expect to. I mean, see how she doesn't look at Mirabel, how her head is low, in shame. She's sincere! Moreover, Mirabel is listening so their relationship improve.
But it really improves because Abuela explains herself, admitting her mistakes, then Mirabel admits what Abuela did good, how she had an hard life but managed to give a home to her family.
In short the difference is the communication, being sincere with each other. It's not so important that in the french version Abuela don't says sorry.
Same with Bruno apologizing to Pepa. She didn't ask for it, he did it on his own because he felt he had to. Which isn't the case since he was obviously already forgiven only by coming back.
I mean look at their faces!!! Pepa is embarassed, Félix has a big smile almost as if he was enjoying the scene, while Bruno's is apologetic, begging to be forgiven.
And when it's Julieta's turn she interrupts him with a face saying "eh! It's alright we're happy to have you, don't apologize". And it's exactly what she is saying!!! It's what means: "Eh we're just happy that you're here, okay?".
Pepa didn't want to be apologize to, neither did Julieta! All they wanted was their brother back and they got what they wanted.
One of the lessons of the movie: apologies aren't important, what is important is to understand each other and learn from our mistakes.