Disney’s animated films are known for being enchanting. Whether we are taken deep into the forest to the castle of a Beast or swept off to the glorious savannahs of Africa, these films can take audiences somewhere, somewhen that is magical. In its sixtieth animated feature, Encanto, Disney again brings the enchantment, like the title indicates, as it presents the story of a non-magical girl trying to help and heal her magical family. Like a squib in a house of wizards, Maribel Madrigal is unable to communicate with animals, lift buildings, or control the weather (all abilities her family members possess), but she comes to understand that families and love are not about those kinds of gifts. In part, since the story is set in Columbia, the film relies beautifully on the tradition of magical realism. However, it also relies nicely on a very specific literary structure that we have often visited here: the soul triptych. Join me after the break for a look at the way in which the number three (and twelve), along with a familiar triune structure helps Encanto weave its spell. And yes, we will talk about Bruno!

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