^{Credit: Hola Frida (Level 33 Entertainment)}

When I heard about this animated film centered on a young Frida Kahlo, I almost expected something along the lines of Life with Louie, Bobby’s World, or one of those other ‘90s cartoons about kid comedians. Hola Frida stemmed from a TV series, Frida, c'est moi, although it started as a book of the same name by Sophie Faucher, who co-wrote the screenplay. Hola Frida blooms with the vibrant visuals of a children’s book, capturing the spirit of Cara Carmina’s illustrations. Being aimed at the whole family, Hola Frida tiptoes around some of Kahlo’s most traumatic experiences, namely the abuse she endured from a female teacher. Despite a few omissions and a rose-tinted lens, the film does explore the many hardships that formed this once-in-a-lifetime artist, as well as little moments that were more impactful than maybe even Frida realized.

Drawing from her diary, the story revolves around Frida’s childhood. Young Frida (Emma Rodriguez) sees inspiration around every corner, painting the world as she envisions it. Absorbing every sight and sound, Frida’s imagination knows no bounds. Admittedly, Frida’s youth might seem too idyllic at first. The film quickly shifts gears when she contracts polio, however. Santa Muerte is ready to claim her soul, although Frida’s older subconscious (Olivia Ruiz) insists that her younger self has more to offer the world. While Frida is spared this time, Santa Muerte will come for her sooner rather than later.

Frida walks again, but one leg is shorter and thinner than the other, making her a target of bullying. Imagination provides an escape, yet Frida doesn’t get lost in a fantasy world. She brings that wonder to her reality, rising above adversity like a social butterfly. Frida is destined to be an artist, which is evident in her day-to-day life, although she once had aspirations to be a doctor. When a street vendor dismisses Frida’s career ambitions, her mother Matilde (Sophie Faucher) stands up for her. Yet, when Frida tries wearing a suit to hide her leg, Matilde insists that girls can’t dress like boys.

Her father Guillermo (Manuel Tadros) is more supportive, helping to mold his daughter’s fascination with art through his photography. While Guillermo and Matilde are depicted having a more loving couple than their real-life counterparts, their dynamics with Frida ring true to history. Frida also has a playful relationship with her little sister Cristina (Rebeca Gonzales). It’s a little awkward knowing that one day Cristina will have an affair with Frida’s future husband, Diego Rivera. Diego is only mentioned in passing here, although his absence isn’t uncalled for. Julie Taymor’s 2002 biopic, while admirable, should’ve been called Frida and Diego, as it was more about Kahlo’s marriage than her career. Kahlo’s career isn’t necessarily the focus here either, but the film is undeniably about Frida.

Directors André Kadi and Karine Vézina portray Frida’s upbringing with culture, charm, and bright colors. The animation could’ve played around more with the surreal elements that often worked their way into Kahlo’s works. Then again, this isn’t the Frida who has come into her own as an artist. This is Frida is still finding herself. The world is shaping her, or perhaps it’s Frida who is shaping the world. For younger viewers, Hola Frida is an inspiring introduction to its central figure. Older audiences will also walk away with a new appreciation for Kahlo, seeing a side of her life rarely touched upon. Animation is the ideal medium to explore it. 

Nick Spake is the Author of Bright & Shiny: A History of Animation at Award Shows Volumes 1 and 2. Available Now!