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The final shot, of our trusty reunited crew striding through a forest, ends with a feisty Anna sensing something behind them and drawing Kristoff's sword. Fortunately Kristoff, Sven, and Olaf are riding to the rescue. She let her hair down and accepted herself for who she is.
Elsa frozen 2 movie#
We see Anna equally isolated, so clearly the sisters are both in a dark place. The new look that Elsa gets in the Frozen 2 movie final is very beautyfull and very symbolic. It's notoriously difficult to render fluid-like motions for animation, and this sequence is stunning.
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It opens with a long sequence of Elsa isolated on a distant shore and trying to run across the water using her powers to freeze the water so she can pass. We know next to nothing about the story, other than it will also feature Arendelle, and this first teaser trailer doesn't tell us much. Nonetheless, it'll be quite the challenge to live up to the smashing success of the original. Jennifer Lee and Chris Buck are back on board as co-directors, along with original stars Idina Menzel, Kristen Bell, Jonathan Groff, and Josh Gad, with music once again from Anderson-Lopez and Lopez. So of course there was going to be a sequel, although it wasn't official announced until March 2015. Kristen Anderson-Lopez and Robert Lopez composed both.) It also spawned numerous spinoffs in multiple forms of media (including a Broadway musical), making it one of Disney's most profitable franchises. (It's a great tune, and it might be a tad uncharitable to point out its strong similarity to "Defying Gravity" from the Broadway hit musical Wicked. It won Oscars for Best Animated Film and Best Song-"Let It Go,' the song Elsa sings as she's building her ice castle. With her dying breath, Elsa sends a message to Anna using her ice powers. Frozen earned over 1.2 billion worldwide, making it the highest grossing animated film of all time. In Frozen 2, Elsa is eventually reborn as the fully-realized fifth element thus, Elsas transformation parallels Gandalfs in Lord of the Rings. Naturally it all works out in the end because this is a Disney fairytale. But she doesn't realize Arendelle has also frozen over, endangering the people.Īnna goes off in search of Elsa with the help of an ice harvester named Kristoff (Jonathan Groff) and his trusty reindeer Sven, as well as a snowman named Olaf (Josh Gad). She's exiled from the kingdom, flees to the mountains, and builds a gorgeous castle of ice and snow in which to live out her days in isolation. When Elsa turns 21, she's crowned queen but a spat with Anna after the coronation reveals her magic. In response, their parents lock them both away. When she accidentally injures her young sister Anna (Kristen Bell), local trolls heal Anna but caution that Elsa must learn to control her magic. The elder, Elsa (Idina Menzel), has the power to control and create ice and snow, but she struggles to control it. The first film told the story of two princesses of Arendelle. We awoke this morning to the first teaser trailer for Frozen 2, the sequel to Frozen, Disney's inventive 2013 re-imagining of Hans Christian Andersen's fairy tale " The Snow Queen." The original was such a blockbuster that it will be hard for any sequel to recreate the magic, but the new teaser certainly looks promising. None of those are bad things to believe in, but the reason Anna’s moment of mourning feels so disarmingly dark is because such sunny dogma exacerbate the fall from grace when you’re suddenly miles away from your castle alone in a cave grieving your sister and snowman.Idina Menzel and Kristen Bell return to voice Anna and Elsa, respectively, in first teaser trailer for Disney’s Frozen 2. Add another layer to this: Anna is, according to the directors, an archetype of fairy tale - as opposed to Elsa, an archetype of myth - and so her motivations have been purposefully crafted to follow north stars of love, harmony, and happy endings.
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That sounds pretty harsh, but recall that the first 20 minutes of Frozen introduce Anna as a person whose entire worldview was created in the absence of human interaction the rest of the film presents a wonderfully layered adult full of wit and warmth, but one who nevertheless has outsourced a large portion of her own sense of self-completion to the new affections of other people (like Hans, Elsa, and Kristoff). There is a chasm of difference between the loss of life and the loss of co-dependency - you don’t have to have been intensely co-dependent to meaningfully grieve a death - but Anna’s personality has always been calibrated toward an optimism that manifests in an allowance of needing others to fulfill her.