Flasz On Film

Let us be perfectly honest: it was a matter of time before Moana, a successful Disney movie from 2016 which also happened to have left a sizeable cultural footprint, was given a sequel. After all Disney is in the business of making money, not leaving money on the table. 

Interestingly, Moana wasn’t a big enough hit to warrant immediate greenlighting of the sequel and instead this decision was taken in 2020, presumably in the wake of the stunning success enjoyed by Frozen II, a follow-up to another incredibly impactful Disney product. However, the team assembled to bring another chapter to the story of a young and restless Polynesian princess with a penchant for exploring the oceans were originally intending on putting together a series for distribution on at the time fresh and sparkly streaming service Disney Plus. Now, I don’t know what the reasoning was behind this decision-making and I can only conjecture as to whether it was dictated by the need to create content for Disney’s now flagship platform, or the desire to avoid slipping into counterfeit mode and turning a sequel to Moana into a pound shop equivalent of Frozen II. 

Nevertheless, earlier this year, Bob Iger announced to the world that what had originally been developed as a series was eventually turned into a standalone movie, allegedly because the work done on the project deserved to be seen theatrically. And at a time when the global box office has still a long way to go if it is to recover from its post-pandemic blues (in 2019, nine out of the top ten films grossed more than a billion dollars globally, while this year only Deadpool & Wolverine and Inside Out 2 managed to breach the ten-digit mark), I suppose it made a lot of sense for a movie like Moana 2 to be released as wide as possible because maybe it had what it takes to climb to the top of the box office on the back of its strong cultural connection with the young demographic. Just like what Frozen II did five years ago.  

Thus, I think i laid a good enough trail of breadcrumbs for you to contextualize what I think about the movie I went out to see as a chaperon to my own personal eleven-year-old girl who was keen to reconnect with the character she originally met when she wasn’t even four years old. In fact, it is my own strong contention that a movie like Moana 2 (or any film aimed predominantly at young audiences) should be viewed through the lens of its target demographic, who are predominantly little girls, and more specifically, girls who were little when they saw the first film and now grew up a little bit and may be better positioned to connect with the now teenage protagonist of this otherwise archetypal story of growth, adventure and sacrifice.  

At the same time, it is worth remembering that above all, Moana 2 is a product designed, engineered and developed at incredible cost by a massive corporation with a global reach and a rich history of producing entertainment for children and families alike. Disney are masters of the four quadrants and especially in recent years they have heavily leaned into rebranding their Disney Princess vehicles into spectacles reliant on character agency that can and should speak to girls specifically. Therefore, it’s a good idea to understand what Moana 2 is, and most importantly, what it is not. 

This movie has a specific mission to accomplish, and it is to reconnect with the young viewer who may remember what it was like to watch that young Disney Princess break through the surf and sail into the open ocean against the wishes of her over-protective father, meet an unhinged demigod with chest tattoos inspired by Rorschach from The Watchmen, quell the anger of an angry deity, and find her purpose and calling as a wayfinder. That movie was about self-discovery, actualization and finding the courage needed to leave the cozy nest your parents have raised you in to meet the challenges of the outside world.  

This time round, Moana is older and connects with the same audience who has grown up as well while waiting for this movie. She’s already brave enough to sail the high seas. Therefore, she is carefully positioned as a young adult whom younger kids look up to. Moana in Moana 2 is a blossoming role model. A bigger sister. And such is the lens through which the movie is written—one of a burgeoning adult who must now temper her ambitions and begin caring for others. She has a tiny little sister to come back to after all. And a crew of friends to care for as they venture out into the open seas again onto a mission to find other oceanic peoples.  

Therefore, I don’t really mind that Lin-Manuel Miranda did not come back to write and compose songs for the sequel. Sure, there is a noticeable difference here, as it is difficult to replace a voice as distinctive as Miranda’s. However, at the same time it is worth noting that the duo of Abigail Barlow and Emily Bear who were commissioned to contribute songs in Miranda’s absence are thus considered trailblazers. Moana 2 is the first Disney movie with songs written and composed exclusively by women, which adds immensely to the tone and themes of female empowerment permeating the film.  

Equally, I am not too fussed about the clearly episodic nature of the movie, which is a likely vestige of the fact that it had originated as a series. It honestly does not matter to me because what makes Moana 2 a resounding success, as far as I can tell at least, is that its archetypal story about teamwork, sacrifice and the idea of caring for those who see us as role models enriches the message of the original and adds what the target audience of young girls are clearly waiting to discover.  

It is a wonderfully pleasant experience that leans heavily into its thematic messaging as it weaves its otherwise familiar story. While it’s not an ersatz Frozen II despite relying on a similar template and progression from the original instalment, Moana 2 is its complement. It adds new dimensions to the conversation about duty and sisterhood that permeated the billion-dollar sequel to Frozen instead of merely echoing it using a set of differently coloured crayons.  

I can honestly expect this movie and other recent Disney Princess vehicles like Raya and the Last Dragon to serve as a great body of storytelling to show girls from all corners of the world that not only can they kick ass—I’m pretty sure their parents are switched on enough to raise them with this understanding—but that their journey extends well beyond the concept of self-actualization and discovery. Movies like Moana 2 are here to illuminate ideas of sisterhood, friendship, camaraderie and inclusive leadership. And at least this one manages to do so effortlessly, while delivering inoffensively lighthearted entertainment that is competently put together and assembled with Disney-characteristic swagger.  

I agree, Moana 2 is not a ground-breaking piece of animated escapism, nor is it an anthem of narrative innovation. Pixar is there to deliver that. But it’s colorful, kinetic and pleasant enough to warrant a successful day out for the entire family and it hopefully gives all little girls in the audience, and those a bit older who might already be looking forward towards adolescence, something to think about and cheer.