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The goofiness of Luca and Alberto learning to ride bicycles and eat pasta, while trying to avoid water, is the film’s central concern any deeper probing of what the film is actually about will have to be done by each individual audience member. There is enough there to graft a queer reading onto-Luca’s doting parents (voiced by Maya Rudolph and Jim Gaffigan) are scared about how Luca’s identity may be greeted by those who don’t understand him, for instance-but the film could just as easily be seen as an allegory for other sorts of difference. The boys’ washing ashore brings to mind the recent immigration and refugee crisis gripping Europe, as people fleeing war-torn lands are met with hostility and shunned by governments as they simply try to survive. Or the film could more broadly just be about a particular time in early adolescence, when kids tend to leapfrog over one another on their way to young adulthood, sometimes leaving each other behind as they grow into their true selves and race down newly open paths.Īside from who it may or may not represent, the film is a nice introduction to summer in its intoxicating wash of blues and greens and oranges, the way it conjures up the heady momentum of youth, the thrilling rush of life’s pages turning. (To the likely dread of many worried parents the world over, the film is also a very effective advertisement for Vespa scooters. It should come as no surprise, of course, that Disney is ever adept at selling things.) Luca does well in that regard, though will perhaps be more memorable for what it might have been than for what it actually is. The film arrives at a funny time in Disney’s tortured relationship with queer storytelling, just a few weeks after Cruella featured a sidelined character-second-hand clothing boutique owner Artie-proudly touted as queer, or non-binary, or something.