Many of them are conveyed through a stolen family photograph that Miguel brings with him to the Land of the Dead. I’m reluctant to describe the film’s plot in too much detail because, even though every twist seems obvious in retrospect, Molina and Matthew Aldrich’s script frames each one so that seems delightful and inevitable.

Suffice to say that Miguel gets there, teams up with a melancholy goofball named Hector ( Gael Garcia Bernal), and has to pose as one of the dead with the aid of skeletal facepaint, but that (like Marty McFly returning to the 1950s to make sure his mom ends up with his dad in “Future”) the longer Miguel stays on the other side, the more likely he is to end up actually dead. The machinations that get Miguel to the other side are too complicated to explain in a review, though they’re comprehensible as you watch the movie. In her old age, she has become a nearly silent presence, sitting in the corner and staring blankly ahead, as if hypnotized by a sweet, old film perpetually unreeling in her mind. The title character is the hero’s great-grandmother (Renee Victor), who was traumatized by her dad’s disappearance. At least that’s the official story passed down through the generations it’ll be challenged as the film unfolds, not through a traditional detective story (although there’s a mystery element to “Coco”) but through an “ Alice in Wonderland” journey to the Land of the Dead, which the hero accesses through the tomb of his ancestors.įamily and legacy as expressed through storytelling and song: this is the deeper preoccupation of “Coco.” One of the most fascinating things about the movie is the way it builds its plot around members of Miguel’s family, living and dead, as they battle to determine the official narrative of Miguel’s great-great grandfather and what his disappearance from the narrative meant for the extended clan. But Miguel has to busk in secret because his family has banned its members from performing music ever since Miguel's great-great-grandfather left, abandoning his loved ones to selfishly pursue his dreams of stardom. He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and '30s, Ernesto de la Cruz ( Benjamin Bratt), who was killed when a huge church bell fell on his head.

The film's hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez), lives in the small town of Santa Cecilia.

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